Camila

The film "Camila" was produced in 1984 and directed by Maria Luisa Bemberg (1922-1955). Based on the true story of Camila O'Gorman, an Argentine woman who falls in love with a priest in 1840's Buenos Aires, this story dealt with the terrifying reign of Juan Manuel de Rosas. Camila is from an influential family and is betrothed to a Rosas loyalist. She is passionate and daring, just like her grandmother, and reads books that have been censored by the ruthless Rosas. When she falls in love with Father Ladislao, the two flee Buenos Aires and assume new identities as school teachers in a small village. During a party, a priest from Ladislao's old church recognizes Ladislao and turns them both in. They are both executed by firing squad even though Camila is pregnant.

The director, Maria Luisa Bemberg was a famous director known for attracting actors like Imanol Arias who were already established in their careers. Her most famous films are "Camila" (1984), "I, Worst of All" (1990), and "I Don't Want to Talk About It" (1990) (McClennon). Many of her films, including "Camila" had similar themes. She often criticized patriarchies and authoritarianism by telling stories of courageous women who dealt with historical events that had direct effects on women.

Camila's father, Aldolfo O'Gorman, represents a more intimate version of Rosas. He brings the terror of the government into her home, reminding her daily that she should do only as a respectful and loyal socialite woman is expected. He is obsessed with moral obligations as outlined by the Catholic Church, and also loyalty to family, church, and state. However, the family's loyalty is meant for the male head of the house. The first scenes of the film show Camila playing with kittens, then cuts to the servant who is carrying out her orders to drown the kittens. This scene immediately develops the cruelty the film will display within the O'Gorman family and the terror of the Rosas regime. Later, he scolds her at the dinner table, in front of guests, for questioning Rosas's laws and ideals. Taken to extremes, he even turns her unto Rosas when she elopes. d also represents the order of repression in the movie. Rosas oppresses the men unfairly, and then they go home and do the same to their wives and daughters.

Camila is also inspired by her grandmother, Ana Perichon. La Perichona was known to be a "friend" of Santiago de Liniers, a reconquistador of Buenos Aires (Cagliani). Her father discouraged her relationship with her grandmother and correctly assumed she would follow in her footsteps. Her death was an important event for Camila because it forced her to think of the value of life and how her grandmother had spent hers. From her last conversations with her grandmother, she knew La Perichona remembered her affair fondly, not regretfully. This influenced Camilla by encouraging her, however discreetly and briefly, to follow her heart. Though her character is only seen briefly, her presence affects the whole story.

Camila, the main character, rebels against all social guidelines for her class, gender, and background. She reads censored books and has no faith in Rosas, which contrast deeply with her fiancÐ"©'s blind loyalty to Rosas. The real Camila O'Gorman was born in Buenos Aires in 1928. The main action of the story occurred when she was 19 years old, and on August 18, 1848, she became the first woman to receive capital punishment. The character Camila and the woman Camila both held fast and never showed repentance over their actions.

There are many instances of foreshadowing in the film. When her father points out Lidaslao's failure to wear the required red ribbon symbolizing loyalty to Rosas, two things are foreshadowed: her father will turn them in, and they will never be able to conform to the rigid rules that Argentine society and Rosas place on them. Also, the bookseller's execution foretells Camila's punishment for her passion.

Several scenes display the cinematic methods used to display themes in "Camila." When Camila is trying to enter the church to plan her wedding, she is greeted by the head of the bookseller and a weeping loved one with a bloody cloth. The shot is from overhead, allowing the viewer to see a variety of action. The dark uniforms of the guards contrast with the clothing of the onlookers. Artificial lighting is used to show the devastation of Camila and to separate her from the rest of the crowd. This "emphasizes the upper classes disregard for the social crisis of Rosas and foreshadows Camila's tragic end" (Barrera). Also, the people fill the right side of the screen and seem to go on farther than the audience sees. This represents the vast influence of the Rosas regime.

Another important scene is when Camila goes to confession and professes her love for Ladislao. Only her face is seen, surrounded by the edges of the confession screen. This displays how trapped she is and how helpless she is to stop her love or to fight Rosas. When the view switches to Ladislao, two things are important. The outline of the confession screne shadowed on his face represents the bars that will confine him both when he elopes and must hide, and when he is arrested. Also, half of his face is shadowed and half is lit. The light side shows he love for God and loyalty to the church (Barrera). The shadowed half shows the side that feels guilty because he knows he is sinning by loving Camila. So, he too feels torn and helpless.

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