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Botz describes the period between 1950 and 1960 as rife with major workers struggles and labor unions. This was the era before the 1960 revolution, a volatile time in Mexican politics. It is against this backdrop that Roberto Gavaldón directed Macario. Macario is a Mexican story intertwined with magical realism where God, Devil and Death make appearances to Macario a poor hungry peasant. After his wife cooks him turkey, he meets the three and each, separately asks him for a share and he refuses except Death who in return gives him a bottle of water that cures all illnesses. As a result, he becomes wealthier than the village doctor. This film shot in black and white is representative of the Mexican culture.
The film portrays the Mexican environmental setup. The opening scene shows the Macario chopping firewood in the forest then going home carrying his load to his wife and children. The scene is indicative of peasants who live in the villages made up of grass-thatched huts with doors made out of sticks. In one of these early scenes in the film, Macario goes into the forest after his wife gives him a full roasted turkey. The forest is scenic with variant gradient levels; Devil appears to him seated on a fallen tree trunk in a backdrop of tall standing trees, then he moves down to the pond, he sees Gods reflection on the water. He then moves further up after his conversation with God to the caves where he meets Death who he shares the turkey with after being convinced of Deaths condition. As the film progresses and Macario discovers the economic benefits of the water, his residence also changes. He moves to a larger upscale residence
stonewalled with good furniture and strong wooden doors. This is not only indicative of improved social status, but also representative of Mexican socio-economic upward mobility. According to Gallegos, Pool and Anderson, there is a huge wealth discrepancy between different social classes in Mexico and this film is a classic example of the scenario. The later scenes of Macarios fall are reminiscent of the earlier ones in the film as it ends in the forest where it all began.
Christianity is the centerpiece of this film. Several scenes outline the role of Christianity in the film. Symbolism comes into play as the sign of the cross synonymous with catholicism is frequently used. Macarios family professes catholicism faith and is evident in the scenes where they make the cross sign as they gather to pray before the meals. In addition, Don Ramiro the wealthy businessman in town is also seen in the chapel using the cross sign praying for his wife Eulalia who Macario later cures using the magic water. In the films midsection, there are women heard in the streets mentioning the holy virgin. Marcarios magical realism also reveals some catechism connotations; the devils temptations, Gods mercy and deaths hunger. At this point one can raise questions as to whether the films director had christian intentions. Nonetheless, in one of the scenes, after Macarios family has gained wealth,Chona has a rather interesting conversation with Macarios wife where says, God is helping you and Macarios wife responds, Yes I hope it is God then Chona exclaims of course it is God! Who else? . Furthermore, the jealous doctor whom
Macario drove out of business, tells the catholic moral authority about him and send inquisitors to investigate. Marcarios life is defined by the consultation between the priest and the inquisitors who have been sent to arrest him because he has been accused of sorcery. In this scene one of the inquisitions accuses the priest of disobedience to the holy office and the priest argues that the church has never seen so many candles and alms indicative of the fact that Macarios actions impacted the church positively. According to the Lenchek, Catholicism has been a dominant religion in Mexico since the 1400s during the expedition of Hernan Cortes.
Furthermore, the film reveals the economic nature of Mexico at this particular time. In the opening scene, Macario is cutting down a tree, which he chops into pieces and sells for firewood. This appears to be one of the economic activities highlighted in this movie alongside small-scale traders in the market. Macarios wife does laundry for the wealthy at a fee. The economic situation as portrayed in this movie is dire and there appears to be huge disparity between the rich and the poor of the society. Macario, in the opening scene cannot afford necessities for himself or his family. In one of the early scenes as he goes to deliver firewood, his children accompany him and they come across a house which one of them calls beautiful with plenty of food. The wealthy in contrast, have more than enough to eat. Later as his economic situation improves, he assumes a different image together with the children, a well-dressed family with plenty of food to eat. This film is reflective of the Mexican economic condition in this era.
Esquivel asserts that it is sadly true that Mexico is a highly unequal country years after Alexander von Humboldt noted it. The report further reveals that, Mexicos income inequality is more pronounced than the latin American average. Mexico still bears the same economic characteristics as shown in this film.
In addition, there are significant political aspects of this film that are representative of the Mexican national context. The film reveals the establishment of status quo. In the scene in which Don Ramiros wife has been cured by Macario, he immediately contacts his sick wealthy friends who need treatment. Indeed, most of Macarios patients were the wealthy. It also appears that Macarios arrest was organized by the socio-political elite without the knowledge of the masses. The inquisitors worry about the masses protesting Macarios arrest and instead secretly arrest him. The scene showing the priest arguing with the inquisitors in his office is also indicative of the political influence the church wielded in this community. In the mid-section scene a mariachi song is featured praising Macario. It is important to note that Macarios fame grew and was popular especially with the masses and this must have been a threat to the status quo establishment.
The kinship and marriage in the Mexican context as portrayed in this film is a hybrid of nuclear and extended family types. We see Macario in the opening scene of the film eating with his wife and children but later, more people emerge including Chona in the kitchen. The nuclear family appears to be the basic unit in production and consumption while the community is made up of a collection of them. There is a scene where Don Ramiro sends for his sick friend to bring his father, an indication of strong kinship ties in the town as shown in the film. The roles of marriage partners are also highlighted in the film. For example, Macario is the breadwinner while his wife cooks and takes care of their children and domestic chores. Just before he is arrested, his wife tries to convince him to abandon his curative role in the community and go back to tree cutting but he refuses. He instead gives her the last bottle of water and asks her to take care of the children while he is gone. In fact he tells her that her responsibility is to take care of the children while he does the rest. The film portrays macarios family as a close family and Macario as a responsible and a loving father.The last scene shows Macarios wife looking for him only to find his body in the forest.
Analysis of this film leaves no doubt of the underlying spiritual ideology. It begins with the simple lifestyle of Macario and his loving family. As it progresses, Macario assumes a new socio-economic status and soon loses his life prematurely. The turning point of Macarios life is the encounter with the three characters, Devil, God and Death. The pivotal issue is what if macario invited either of the other two, Devil or God. It is possible to assume that Macario was ignorant and that he made his decision based on feelings rather than spiritual knowledge. On the contrary, in the scene where he meets Devil and God, he acknowledges them. He refutes the devils offer because the forest was Gods and when later approached by God he asks for mercy and believing that God would understand his reasons. Then he totally misses the point with Death because asked why he shared his meal, he mentions hunger as the reason. The viewer in this case is led to assume that Macario was familiar with Deaths situation as he had endured hunger for a long time. Furthermore, Death only offered his gift after the meal and not before.
Though in black and white, nothing highlights the origin and representation of this film to the national context more than the costumes. Roberto Gavaldón uses the costumes to carefully exhibit changing scenes and importantly the dress culture of the Mexican people. As a peasant, Macario wore tattered clothes that reveal his economic status. One needs no further evidence than this to understand Macarios financial capability at that stage of the film. As it progresses Macarios socio-economic status upgrades, he is shown pardoning in attire indicative of his newly acquired status. The children too are shown in better clothes as they move to their new house. In addition, the costumes also automatically assign characters their role in the film; the priest, inquisitors, peasants and truly representative of Mexican traditional setup.
Macarion is a film that is aimed at inspiring social change. The film shows social class structure in a Mexican setting. It is a reminder that social classification was a motivating factor in the effervescence of social movements in Mexico in the 1950- 1960 period that led to the revolution. To the viewer, the message is on two fronts, the first is the attitude of the wealthy towards the poor and the attitude of the poor towards wealth. The film reveals the negative attitude the rich have towards the poor. The scene after
Macario has replaced the village doctor, Don Ramiro, who is shown trying to exploit Macarios patients and Macario in turn opposing it. Don Ramiro looks surprised that Macario is giving back to the poor. The same scenario is shown where Macario works hard to chop firewood but receives meager returns from it. His money cannot even feed his family let alone cloth them. Nonetheless, the film also exposes the peasants desire to acquire wealth and their attitude towards it. When Macario gains wealth he holds on to it and even after his wife urges him to let go of his mysterious healing power, he still does not. It prompts the viewer to understand that the poor are also as important as the wealthy.
In conclusion, Macario is a fascinating film that exhibits typical Mexican setup that is representative in the national context. Roberto Gavaldón skillfully uses the character Macario to represent millions of people in Mexico during this era of political uprising. He uses natural environment to instill a sense of Mexican traditional setting with amenities that also represent the affluence in the society. For the consistency of the film, religion gives it direction coupled with the depiction of dire economic conditions. The film shows the kinship and marital ties common in Mexico as well as portraying the establishment of the socio-economic status quo. There is a silent spiritual aspect of Mexicans in this film. In addition, the characters in the film exhibit accuracy in profoundly revealing the nature of Mexican more so in their costumes. Mexico has gone through different historical periods and the most important aspect of it is that little of the culture changes. Mexican culture holds on to the past as it embraces the future.
Works Cited
Botz, Dan La. Mexico, worker struggles and labor unions, 1950s1970s.
Esquivel, Gerardo. The Dynamics of Income Inequality in Mexico since NAFTA. United Nations Markets, the State and the Dynamics of Inequality. Rio De Jenairo: United Nations, 2008.
Gallegos, Horacio, Markell Pool and Rachel Anderson. Access in Mexico. 2001.
Lenchek, Shep. The Catholic Church in Mexico, triumphs and traumas. 2000.
Macario. Dir. Roberto Gavaldón. Perf. Ignacio López Tarso. 1960.
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