REAL WOMEN HAVE CURVES
US, 2002, 87 minutes, Colour.
America Ferrera, Lupe Ontiveros, Ingrid Oliu, George Lopez, Brian Sites.
Directed by Patricia Cardosa.
Real Women Have Curves is a first feature by Patricia Cardosa who won a number of competitions with her short films. It is based on a play by Josefina Lopez. The film does not seem to be stagebound at all, although it is very strong in dialogue.
This was the first film for America Ferrera, aged eighteen, who went on to star in such films as The Sisterhood of the Travelling Pants as well as win an Emmy and a Golden Globe for her series, Ugly Betty. Lupe Ontiveros, who has portrayed, it is said, a hundred and fifty maids in films and television series, has probably the best role of her career as America Ferrera’s dominating and self-centred mother. Ingrid Oliu is very good as the older sister. Comedian George Lopez is a sympathetic teacher.
The film focuses on women, is a film for women rather than men, is a film for women who are full-bodied rather than matchstick. There is a lot of discussion about size, weight, being fat – as well as confidence in one’s body, inner beauty, self-awareness and self-confidence.
The film is set in the Hispanic community in Los Angeles and will resonate with audiences from this district as well as those interested in seeing a perspective on Hispanic life in the United States.
The film focuses on Ana, played by America Ferrera, an intelligent girl who has gone out of the neighbourhood to Beverly Hills High School and wins a scholarship to Columbia University. Her parents, who have worked since they were teenagers, don’t want to break up the family and the mother is unconsciously jealous of her daughter, ridiculing her size and weight all the time, wanting her to learn to sew and to work in her sister’s factory.
The film is brief, well written, well acted – and, unexpectedly, there is a very insightful and humorous sequence in the factory where the women, on a very hot day, are in their underwear, comparing sizes and joyfully accepting themselves.
1.The quality of the film, awards? Based on a play, opened out? Strong dialogue?
2.Los Angeles, the Hispanic neighbourhood, homes and factories, the streets? The Beverly Hills High School? The affluent homes? The musical score?
3.The popularity of the film, for American audiences, Hispanic, worldwide? For women?
4.The title, full-bodied women, the comment on the media and the expected image of glamorous women? The reality, weight, fat? The mother taunting her daughter? Ana and her relationship with Jimmy, talking about herself, wanting Jimmy to see her as real? The heat scene in the factory, the women and their underwear, the cellulite, joyful and funny? The mother in denial? Her comment about getting married and then accepting one’s size?
5.The film as the story of Ana, aged eighteen, her weight, the dominance of her mother, her mother’s continuous taunts and ridicule, her love for her sister, love for her quiet father, the grandfather, at home? Mother and daughter clashes? Her mother pretending to be sick? Ana going to school, her success at school, Mr Guzman and his help, urging her to go to college, explanations about the scholarships, urging her to write a story? Going to the factory, the pressure from her mother? Her exasperation? Her sister paying her? Meeting the women at the factory, creating a bad impression, burning the dress? Walking out? Jimmy and his friendship at school, going out with him, the kisses, buying the condoms, saying she was ready, letting Jimmy see her body in the light? The goodbye to him, the future and not seeing him much? Her mother, her upset about her sexual encounter? Her mother thinking she was pregnant? Going to the doctor, not understanding the menopause? Arguing with Ana, the sugar, eating the flan? Mr Guzman’s visit, the news about the scholarship? The parents and their reaction? Her asking her father and his letting her go? Preparing to go to New York? The work in the factory, the stripping, comparing sizes? The mother being scandalised? Going to the airport, knocking on her mother’s door, her mother’s refusal to come out? The final exhilaration of Ana walking up from Times Square in New York City?
6.Carmen, her story, working in the factory from age thirteen, sewing, her self-centredness, feeling sick, continually humiliating her daughter? Her love for her husband, cooking the meals? Her demands? Forcing Ana to go to the factory, Estella and her work in the factory? Her thinking she was pregnant, going to the doctor, not understanding the menopause? Refusing the scholarship? The party and Ana’s graduation? Hostility towards Mr Guzman? Worried about her daughter, virginity, getting married? Scandalised at the behaviour of the women in the factory? Refusing to farewell her daughter?
7.The women at the factory, the background of their lives, work, banter with each other, joy, the strip scene?
8.Estella, owning the factory, the cheap rates for the dresses, yet her quality work, her patience, making the dress for Ana, supportive of her sister?
9.The father, quiet, working as a gardener? The grandfather, at home, the dominoes? The father accepting the scholarship for Ana? Taking her to the airport?
10.Mr Guzman, encouraging Ana, the essay, his going to the house, the treatment?
11.Jimmy, the white boy, admiring Ana, the dates, the sex, the farewell?
12.The story of a young girl, trapped by economics, racial stereotypes, the family? The hope and possibilities?
