VIVA ZAPATA
US, 1952, 113 minutes, Black and white.
Marlon Brando, Jean Peters, Anthony Quinn, Joseph Wiseman, Arnold Moss, Alan Reed, Margo, Harold Gordon, Lou Gilbert, Frank Silvera.
Directed by Elia Kazan.
Viva Zapata was directed by Elia Kazan the year after A Streetcar Named Desire. Kazan had won an Oscar for Gentleman’s Agreement in 1947 and was to win a second one with On the Waterfront in 1954, where Marlon Brando won his first Oscar. Anthony Quinn won the first of his supporting actor Oscars for Viva Zapata. The screenplay was written by John Steinbeck.
The film takes us to Mexico at the beginning of the 20th century, Emiliano Zapata being an Indian who protested against injustices about arable land in his province. He was taken up by newspaper editors (Joseph Wiseman) as well as intellectuals who urged him on to rebellion against President Porfirio Diaz. This was the same period when Pancho Villa was rebelling in the north, Zapata in the south. Pancho Villa also appears as a character in this film.
Marlon Brando is very strong in bringing Zapata to life, using his method styles, going to live with the Indians before his performance.
While not many films have been made about Zapata, it is interesting to look at the many films about Pancho Villa explaining the background, including portraits by Yul Brynner and Antonio Banderas in And Starring Pancho Villa as Himself, directed by Bruce Beresford.
Sources indicate that this was the first film portraying Emiliano Zapata on screen.
1. The significance of the title, and in the credits seen on the wall, and acclamation of encouragement, Zapata’s living, the irony at the end of his dying, and yet his still living in the hearts of the Mexicans?
2. How well did the film create its Mexican atmosphere? Use of locations, towns, the people and appearances, profiles and accents. How authentic was the atmosphere? How necessary for this film?
3. How well did the film create the Mexican political atmosphere? The initial visit to the president, the platitudes of the president, and his dictatorship, his patronizing attitude towards the Mexicans? Signaling the name of Zapata? The irony of the scene repeated later on?
4. Did the film show clearly how Zapata emerged from this political situation and the oppression? The importance of the sequence of the massacre of the people looking for boundary stones? Was it easy to see how Zapata could rebel? The justification? The feeling? His becoming an outlaw? The way that he conducted skirmishes?
5. The importance of Ferdinand and his influence on Zapata? As the enigmatic ambassador from Maderos, his first appearance, Ufameo wanting to shoot him, his continuing? The fact that he lived in a world of ideas? Intensity? His good and his evil? Influence on Zapata? His aligning himself with the power forces? His judgment on the realities of revolution? The cruel individual facing a revolution?
6. Ufameo and his importance, Emiliano’s brother, a contrast, boisterous behavior, drinking, women, fighting? The fact that he lacked vision? His later abuse of his power? The fact that he had suffered and being forgotten? The quality of Anthony Quinn’s award winning performance?
7. How convincing was Marlon Brando as Zapata? Genial, Mexican, feeling with his people, a man of vision, even if limited? Integrity, poor, ignorant? A soldier and crusader with his own code?
8. The relationship of Zapata with Josefa? The initial encounter in the church with Ufameo’s help? Josefa’s response to Zapata? The later courting sequence with its mouthing of proverbs and politeness? Happiness of the marriage? The impact of marriage on Zapata? Yet his need of reading on his marriage night? The effects of separation of the couple? Josefa’s father taunting her? Her final plea that he not leave? How did her love give meaning to his life and exploits?
9. How interesting a character was Maderos? Sympathetic? Victim of the revolution and of bureaucracy? Being exploited by the generals? Zapata’s reaction to him and the way that he ruled? His being persuaded to visit the Mexicans? The irony and tragedy of his death?
10. The effect of Maderos’ death and the betrayal of Zapata? His executing his friend even though it went against his feeling?
11. The importance of the encounter with Pancho Villa? The casual meeting under the trees? The decision that Zapata be president? Effectiveness and ineffectiveness? The repetition of the initial scene with the president and its ironic comment? The feeling and his leaving the presidency?
12. The irony of the death of Ufameo? The bitter comment on the success of the revolution? Ufameo’s ordering around the ordinary peasants and exploiting them?
13. The tragedy of Zapata’s own death? The fact that he allowed himself to be betrayed? The significance of his cause?
14. How effective the final symbolism? The dead body? The live horse? Its escape from the executors? The peasants thinking that he lived in the hills?
15. How well did the film explore the values of rich and poor, classes in society, integrity and principles, ambitions, fighting and suffering? Insights into the need for revolution and the ways that revolutions happen? On the nature of oppression and rebellion against it?
