At times I felt that this was not only a film, but rather it seemed as if this were a documentary that showed different scenes of the war. I also interpret the use of black and white as a reflection of what life was like in Mexico: you are either for or against the military, you either make it out of this war or you die, and you cannot escape the life that is black and white. [I like the insightfulness of this comment and the affirmation of interconnection between style and theme]
El violín is a good example of neorealist film. From its narrative structure to its editing techniques, the film pulls from the rich history of the neorealist movement to tell a compelling story about the struggle of ordinary people being oppressed. [This is a discerning comment that can be applied to all of the filmmakers in this unit of the course: they draw from neorealism and the films are predominantly neorealist in style. However, they are not necessarily purists and the films can also deviate from the principles of neorealism in some aspects.]
El violín shows the ongoing struggle of resistance between the poor, what could also be perhaps indigenous people, and the government represented through the military. [One detail from the film that I think is important is that only once do we hear the voice of the villagers. Genaro arrives to his village as the villagers are escaping. As they hurry past him he continuously asks in Spanish what is happening and only one person responds; in the camp, the camera observes the anonymous villagers, but again, their voices are not heard. These details, along with their appearance, hint at their indigeneity. I think this is a brilliant technique, because the subtlety allows the viewer to see them, too, as a metaphor for the oppression of marginalized people anywhere in the world.]
The second scene that I thought was equally as powerful was the scene when the general began to play the violin with the bow. As he played, his sounds were cacophonous as he was visually destroying the bow and violin. However, when the old man began to play, he made a beautiful tone, that was an enjoyment to all. While the instrument was the same, it was the person playing it that made the difference, and I think that this is a lesson of the film. It isn’t the instrument or life one is given but how he uses it that makes the difference. [I think this is beautifully said and doesn’t need further comment.]
In effect, The Violin is reflexively immersive, calling attention to real world issues while being aware of its role as art. [This is an apt comment for how it recognizes the dual priority of the filmmaker, which is to make a beautiful film that also engages the viewer on an important human rights issue. The film demonstrates these two poles are not mutually exclusive.]
The change in the point of view also adds suspense in the film. At the beginning, the audience is looking through the lens of the rebel Genaro, and Plutarco and Lucío appear to have secondary roles. However, the lens shifts to Plutarco who becomes the main character. [I like the perceptiveness of this comment and the way that the student identifies an effect achieved by the use of a particular technique (POV).]
The story can be located in Mexico or in another country where the poor and the army are antagonistic forces, mainly found in Latin America. [It is hard to say what a particular director’s intentions are, but I think it is reasonable to argue that the film is about Mexico specifically and more generally about Latin America—rather than about the world.]
El violín also ended with the typical neo-realist finale with the grandson and the little girl walking away down the dirt path into the horizon. The one difference I noticed in this ending from the others is that he isn’t going up or down hill. It seems to be a flat road. In my opinion, this signifies the fact that nothing will change for this character or society. He will go on playing music and fighting just as his grandpa and father did to make it by and survive. [This is a very astute comment and attests to the power of visual language in cinema.]
What I truly appreciated from the film was its use of silence to speak louder than the characters could. The director highlighted the importance of understanding human emotion not through words but through their silence and the assumption of what is to happen. [This comment goes right to the heart of the neorealist aesthetic and its innovativeness.]
With Plutarco putting the violin in the ground, it is saying he is trusting his land to take care of it, and when the soldiers confiscate it, Plutarco is left without a home. [This is a perceptive comment that sheds light on story’s symbolism.]
Plutarco seems to be symbolically connected to both music and to land. When he says “the music has ended”, perhaps some seemingly insignificant but actually vital connection to land, culture, and country has been lost. [Another perceptive comment that excavates the story’s symbolism.]
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