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Review

Viva Zapata!

Director

Elia Kazan

Year

1952

Rating

Reviewed by

Gon C Curiel a.k.a. Groucho

Review date

Wednesday, June 12, 2002

In looking for a screenwriter capable of putting together a script based on the life and struggle of Mexico’s most legendary revolutionary, you can’t hardly ask for anyone more appropriate than novelist John Steinbeck. The author of such classic works as The Grapes of Wrath and “Of Mice and Men” reportedly spent some time around the Mexican state of Morelos, where Zapata lived, and wrote the script on his own initiative. Later, he showed it to director Elia Kazan, who in turn showed it to producer Darryl F. Zanuck. Kazan probably saw in the script a chance to transmit his own ideas (though whether he wanted to prove that rebels always end up badly or that the power should belong to the people is unclear), and Zanuck probably saw it as a different kind of western (but a western nonetheless), but they chose to make this unlikely film, and a wise decision it was.

The movie focuses on the life of Emiliano Zapata (Marlon Brando) from the moment when he protests against dictator Porfirio Díaz (Fay Roope), along with other peasants, to the moment when he reaches a power beyond anyone’s (certainly his own) expectations. Zapata isn’t for a moment portrayed as a deity or a better man than anyone else, but only as a determined man whose convictions are stronger and more important than anything else in his life. Zapata’s legend emphasizes the idea that a man’s conviction can be stronger than any oppressing force, and that’s exactly what’s shown here, through Zapata and later his followers.

There are many aspects well-developed in this biopic. First and foremost, there’s Zapata’s political career. We get a backdrop of Mexico’s history during the chaotic revolution (started in 1910), where everyone wanted to snatch the power and no one got it long enough. Important figures of history are astoundingly recreated, including Díaz, Francisco I. Madero (Harold Gordon), Victoriano Huerta (Frank Silvera), Pancho Villa (Alan Reed), and others.

Also, there’s Zapata’s personal life, which has him both dealing with his very humane brother Eufemio (Anthony Quinn) and courting beautiful Josefa (Jean Peters), whose father (Florenz Ames) strongly opposes Zapata’s little interest in opulence.

There are many great moments in this film. Kazan’s direction is both precise and dynamic, making the experience both exciting and intense. Alex North’s score, inspired by Mexican tunes, is very appropriate, and accompanies the procedures in an extraordinary way. A couple of highlights include a gathering of peasants to free Zapata from Federal Officers, and his speech towards the end, after quitting the office. Those are the kind of inspiring moments that this film is so unforgettable for.

As performances go, it’s flawless. The idea of having Marlon Brando play a Mexican (and not any Mexican, but one of Indian extraction) is farfetched to say the least, but he’s so into the character that he becomes Zapata, no more no less. This is one of the best roles this great actor ever played, and one in which he gave himself up completely for the role, disappearing into it, making us forget who the actor is. Anthony Quinn steals every single one of his scenes, playing the simple yet complex Eufemio, who fought a struggle of his own. And Joseph Wiseman is notable as a chilling character who constitutes a metaphor of the drifting cause of most people, who desire power no matter who offers it.

This gem is not to be missed…, in fact, it’s a work of love that deserves to be loved.

“There are no leaders but yourselves… The strong people is the only lasting strength.”

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