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Viva Zapata!

Viva Zapata! (1952)

February. 07,1952
|
7.3
| History Western

The story of Mexican revolutionary Emiliano Zapata, who led a rebellion against the corrupt, oppressive dictatorship of president Porfirio Díaz in the early 20th century.

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Mjeteconer
1952/02/07

Just perfect...

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Salubfoto
1952/02/08

It's an amazing and heartbreaking story.

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Zlatica
1952/02/09

One of the worst ways to make a cult movie is to set out to make a cult movie.

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Kinley
1952/02/10

This movie feels like it was made purely to piss off people who want good shows

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evanston_dad
1952/02/11

One would think a film starring Marlon Brando and Anthony Quinn, directed by Elia Kazan, and written by John Steinbeck would be a sure thing. But "Viva Zapata!", while not a bad film by any means, never manages to live up to the expectations one would justifiably have for it given its pedigree. I know casting Caucasian actors as people of color was a common convention in earlier cinematic times, and that one needs to just suck it up and go with it if one is going to bother watching a movie like this in the first place, but my goodness was it hard to get past Marlon Brando as a Mexican revolutionary. The makeup they put on him looks distracting at best and actually disturbing at worst, and he makes absolutely no effort to sound Mexican. The film is oddly static and has none of the dynamic momentum Kazan could bring to a film like "On the Waterfront." Even "A Streetcar Named Desire," which essentially has a cast of four and no action sequences, feels more full of movement than this film. And much as it pains me to report, the weakest link in the chain is John Steinbeck's screenplay. It's extremely disjointed and disorienting, with major plot developments happening off screen so that Brando (in one example) goes from being a revolutionary in one scene to president of Mexico in the next without anything in between to explain the transition. It's like reading a novel with chapters missing.Quinn received the first of his two Best Supporting Actor Oscars for playing Zapata's brother, but I'm not sure why. His performance is the consummate Quinn performance, all yelling and shouting. It's criminal that he beat Richard Burton that year in "My Cousin Rachel" when Burton was in literally every scene of his movie and played his character expertly. Brando won his second of four consecutive Best Actor nominations, Steinbeck was nominated for Best Story and Screenplay, and the film received two technical nominations for its black and white art direction and its score (by Alex North).Not exactly a dud, but definitely a disappointment.Grade: B-

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Prismark10
1952/02/12

Emiliano Zapata (Marlon Brando) was a principled, charismatic revolutionary who led peasants from Mexico in the early part of the 20th century against the dictator, Porfirio Diaz who might had proclaimed himself the father of the nation but was stealing land from the poor farmers.What Viva Zapata shows that the cycle of betrayal is endless, one dictator goes and another one emerges. When Zapata is President his brother Eufemio (Anthony Quinn) regards it is his right to take land and property by force.With at times a literate and clever script written by John Steinbeck, direction by the then leftist Elia Kazan the film is too uneven. There are at times some great black and white photography but the film lacks action, the plot is messy and it does not always makes sense.Brando gives a sombre and moody performance but does look odd as a Mexican. A more natural rough-hewn performance is given by Quinn.

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petrelet
1952/02/13

Okay, I am not -entirely- going to pan this movie in the way it would certainly be universally panned today (to start with, you have to look real hard to find any actual Mexican@s in the cast - the only one I found in the named cast was Margo playing an unnamed "soldadera", though there are some others in the uncredited list).Furthermore, I think it's worth seeing for some of the theatrical bits that have entered the collective consciousness, like where Zapata demonstrates to Madero that political power really does grow out of the barrel of a gun, as Mao would later point out. And you can look at it as a sort of useful Anglo-American children's intro to the fact that, yes, there has been revolutionary history in Mexico that is worth knowing about.But still. Okay, you can look at this movie one of two ways. First, it is it really a biopic? No, it's nothing like that. Movie-Zapata is this naive, illiterate, pure son of the soil, too trusting, too honest, who shuns the corruption of real power, sort of like a movie version of Joan of Arc. The real Zapata had a merchant's education, composed the Plan of Ayala, and was an important military and political figure. Everyone else in the movie is a caricature of one kind or another also.Another way to look at this movie is that it's a romantic portrayal, a movie version of a myth. Okay, that would be all right. But then you are responsible for the kind of myth you are propagating. If you are going to falsify history in the name of didactic storytelling, let's talk about the story and about who is telling it.This is a myth about Mexican history told by Anglo-Californians Edgecumb Pinchon and John Steinbeck. I suggest that a lot of the magic-peasant-saint feel of the film is precisely due to that.It came to the screen at a time when Steinbeck, Elia Kazan, and all of Hollywood were under great pressure from the government and the film biz to disassociate themselves from communism. And it's left its mark on the film, notably in the character of Fernando (Wiseman), who is supposed to be some kind of international communist agitator, always preaching violence and ending up in the camp of the murderous generals, because, as movie-Zapata says, "Your kind always does." Also, the United States is a land of freedom and democracy and you never hear about the occupation of Veracruz for example. And it also bears on the whole tenor of the film, which is all for peasants rising up against injustice, but which is very ambivalent on the issue of what the state should do and whether or how anyone should actually be in it.Also, I can't help noting that movie-Zapata never pays any attention to anything women have to say about anything, which may or may not be historically based, but a movie which is telling a myth, not history, has to be judged for it. Furthermore movie-Zapata is offended that anyone would consider him an "Indian", and one never hears about Indians in the movie, whereas real-Zapata was reportedly fluent in Nahuatl and the actual revolt in Morelos (then as now) had serious indigenist elements.There is a scene in the movie which is on the one hand really good and on the other hand really exasperating which illustrates some of these issues. Zapata has been taken prisoner and is being led from his village with a rope around his neck by mounted police, who intend to either jail him or shoot him. But, as they travel along, "the people", who have arranged themselves all along the road and through the hills in advance, get up from the ground or come down from the heights and wordlessly join the party, in groups of two or six or ten. Eventually the police catch on to the fact that they are traveling in the midst of a throng that completely outnumbers them. Finally their path is blocked by Zapata's mounted riders, and they release Zapata without a struggle.On the one hand, who can be insensible to this picture of the power of the people? On the other hand, the aggravating part is the pure and mystical way this supposedly all happens, as if because of being in tune with the soil itself these people all arranged themselves in the right places without any actual discussion. Not even in Morelos does it go like this. If one wants a better and more informed picture of how struggle actually takes place, Steinbeck's "In Dubious Battle" is a decent candidate.Anyway, I ultimately feel that the real Zapata deserves a better movie. Maybe the 1970 version is that movie - I intend to give it a look.

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MisterWhiplash
1952/02/14

At first he doesn't look much like we remember him - Marlon Brando appears as his Mexican Emiliano Zapata with a stern face at the Mexico Priesidente demanding, simply, land rights and making sure boundaries can be drawn. His name is circled on the President's desk, not a good sign, and from here on in Zapata is fighting and fighting (what one character says is as simple as it is - it's all he knows) so that the farmers can have their land, as opposed to time and patience, to grow their corn with.When Brando first appears as this revolutionary figure he doesn't quite look like himself, and at the same time does very much, and it's disarming. I didn't buy it entirely in the first scene... and then the scenes kept coming, and Brando, playing Zapata as stubborn and headstrong and without much in way of a sense of humor as a leader as a General (and rightfully so as revolutionary figures tend to be, see Che for more details), is spot on. It's worthy of the rest of his oeuvre at the time, if not quite up to the monolithic status of Streetcar and Waterfront then at least as good if not better than the underrated The Wild One. This is vintage Brando every step of the way, absorbing us in this figure who reminds us all why it's necessary to have such heroes - but also the lacerating side of the double-edged sword where-in those in power will do all they can to destroy the hero. That and, well, revolutions and movements of ideas amongst people end up turning things pretty damn bittersweet; just look at the very end for that, as four peasants talk of Zapata's status as an idea as well as a man.Viva Zapata! presents Mexico in some fresh and amazing cinematography, sturdy and sometimes clever and heartfelt direction from Elia Kazan, always best with his actors (even Anthony Quinn who again proves why he was best as taking on an ethnicity and making it believable, if only up to a point as his powerhouse turn shows here), and some very interesting writing from John Steinbeck. The script sometimes takes its turns and movements that don't make it quite flow as well as it would in a book; individual scenes are knock-outs, mini-masterpieces of words exchanged with underlying meaning or trying to find the meaning in how people can persevere, or not as it turns out (one such scene I loved is when Zapata has been installed as the President- as Pancho Villa says there's "no one else"), and the farmers he says he knows comes and demands the same things he did once before, but at a personal price.There's lots of great things like that, or just the uncomfortable but true rapore between Zapata and his future-wife's family when they talk in metaphors. If only Steinbeck didn't sometimes jerk the story ahead without some warning (it will be hard to explain, you just have to see it to understand, though this may have more to do with the direction than writing, more research is needed for this assumption) it would be unstoppable as a classic. As it stands though Viva Zapata! is an essential chronicle of a rebel with a cause, an honest man of principles who tried to do too much good in a country where it just wasn't possible. Or, perhaps, things like this just aren't possible; one can see the parallels and maybe even find this to be like a condensed version of Soderbergh's Che in taking a sobering look at the sweet highs and sobering lows of rising up against the powers that be (and yes, this is quite the leftist movie, all the more odd considering it's John McCain's favorite film!)

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