SECRET WEDDING
Argentina, 1989, 95 minutes, Colour.
Directed by Alejandro Agresti.
Secret Wedding is an Argentinian film (with Dutch and Canadian backing). It was written and directed by Alejandro Agresti. It offers a reflection on the period of the Argentinian Generals, the oppression, the torture. A naked man emerges on the streets of Buenos Aires, suffering from amnesia. Gradually he begins to remember something about his former self and undertakes a journey to the frontier town where he lived, in search of the women he loved. Not revealing his true identity, he settles into the town, unmasking in many ways its hypocrisies and corruption. However, the woman he loves becomes fascinated with the new identity and, even when he reveals himself, still prefers to live in the world of fantasy.
The film is highly critical of Argentina during the period of the Dirty War and the leadership of the Generals, critical of the abuse of human rights, critical of hypocritical society in not standing up for what it believed in, highly critical of the Church with its other-worldly platitudes not meeting the needs of this present world. The film attempts to be a stylish interpretation of the spiritual odyssey of a persecuted man.
1. Argentinian film? Background? History?
2. The locations, Buenos Aires, the route of the journey, the town? The musical score?
3. Audience knowledge about Argentinian history, the Generals, the persecution and oppressions, torture and abuse of civil rights? The aftermath of the Generals?
4. Fermin and his running naked through the city, the police and their reaction, his identity and the mystery, walking the city, the letter, the bus, the beginnings of his memory coming back, the decision to go on a quest?
5. Tota, waiting for Fermin, her reputation, nickname, the kiosk, selling him the paper, not recognising him?
6. The paper, Pipi, the tramp? Friendship? The bar and no work? Donna Patricia and her kindness, playing the piano? Encounters with Tota, Pipi and his continuing friendship? The arrangement, the room, clothes, board, playing the piano, the reactions? Happiness for him? Flowers for Tota, waiting? Talking with her, reminiscing? With Donna Patricia? The possibility of a new life?
7. Tota and her past, her present state, not recognising him, her work, life, confessing, beginning to forget Fermin, the walk, the dinner, declaration of love for Fermin as Alberto?
8. Donna Patricia, her place in the town, her establishment, giving Fermin the job, being pleasant towards Alberto?
9. The customers - the identical triplet sisters, the two homosexuals forced by the Church to appear as brothers? Coming to the restaurant, their lives?
10. The aristocracy of the town, gossip? The establishment of a conspiracy theory? The Russians and the KGB? The priest, people's reactions and suspicions?
11. The character of the priest, his celebration of the Mass, Pipi and the flowers, the wine, meals? His being the sole representative of the Church and wielding his authority? His moral theology, especially about sexuality? His own behaviour? Fostering the conspiracy theory? The wine, the denunciation, the argument? His particular belief in God? Death?
12. Pipi, friendship with Alberto, life in the town?
13. Fermin in crisis, the conspiracy and the people persecuting him, talking with Tota, wanting to leave? Hitchhiking, the night, arrested?
14. The reaction of the people in the town, watching Alberto, letting him go - and Tota and her moving into fantasy?
15. The Catholic background of Argentina, the role of the priest, dominating and authoritarian? Moral theology - and moral behaviour? God and religion?
16. The aftermath of the Dirty War, the shift to democracy? The torture of Pppipi? The conspiracy theory - and while the surface changes, nothing deeper changes?
