Chon A. Noriega, ed. Chicanos and Film: Representation and Resistance
(Minneapolis: University of Minnesota Press, 1992): 218-240. Story Structure in Latino Feature Films Mario Barrera Introduction Story structure is an essential but relatively underemphasized aspect of film analysis. Story structure as used here refers to the various ele- ments that go into a film's plot, and the ways in which these elements are interrelated. Analyzing structure puts the emphasis on film as drama. Once we see how the various dramatic elements are related we gain insights into why the story proceeds as it does. Much too often films are analyzed as if they were simply social or political tracts, intended to reinforce or challenge some aspect of soci- ety. Although serious filmmakers do have social themes in mind, the first consideration of a successful screenwriter is whether the story "works" in dramatic terms. If the story does not work dramatically, the film will be a flop, and any social or political themes will not be effectively conveyed. A great deal of academic film criticism also focuses on the visual aspects of film, understandably so given the nature of the medium. As a result, there is a great deal of discussion of directors, who are responsible for translating the story into visual terms. Within the film industry, however, there is a much greater appreciation of the role of the screenwriter, who initially creates the story. Indeed, it is axiomatic that without a good script there can be no good film. In recent years a practitioner-oriented literature has developed aimed at teaching how to write good screenplays.1 The script analysts who have written these works generally proceed by examining suc- 218 Mario Barrera cessful, "classic" films in order to identify the essential elements that go into making good stories. Different analysts rely on different films, but certain ones come up again and again. Among the most common- ly cited American films are Casablanca, Chinatown, Witness, The Godfather, Butch Cassidy and the Sundance Kid, Kramer vs. Kramer, Midnight Cowboy, Annie Hall, Ordinary People, Rain Man, and Tootsie. 2 The films chosen for study are not necessarily the biggest box- office blockbusters. Rather, they are films that have been commercially successful and that are also successful at evoking strong responses from their audiences. In addition, they are thought of as classics or as likely to become classics, films that will be viewed repeatedly over time. In identifying a classic story structure, the various analysts have not claimed that all successful films adhere to a single general para- digm. They do claim, however, that the overwhelming majority of successful films do so, and that the exceptions are usually self-con- scious deviations by experienced filmmakers. The advantage of relying on this practitioner-oriented literature in analyzing story structure is that it provides much more of an "insider" perspective than most film theory. The terms and concepts used here are those used by working screenwriters, so that the analytic approach is grounded in the actual creative process. The procedure I will follow will be to identify key elements that are referred to in the major works. These are elements on which there is a relative consensus, although all writers do not use the exact same terminology. After identifying the key concepts and their interrela- tionships, I will illustrate their use by referring to seven films about Latinos in the United States. Some of thes'e films are by Latino filmmakers and others are not, but all have been widely discussed in Latino academic circles, and are frequently shown in college class- rooms. These seven films have been selected to illustrate variations in the use of classic story structure. The Elements of Story Structure The discussion of story structure usually begins with the concept of the protagonist, the central character of the story. He or she must have a clearly identified motivation, or desire. In order to achieve that desire, 220 StoryStructureinLatinoFeatureFilms the protagonist struggles to overcome a series of obstacles. The drive by the protagonist to achieve the desire against mountingobstacles providestheplot orspine ofthestory. Generallyit is obviouswhotheprotagonistis. Infilms like Sparta- cus or Ferris Bueller's Day Off the protagonist is identifiedinthetitle. Onthe otherhand,the protagonistin Rain Man is notRaymond,but hisbrother,Charlie.Theprotagonistis notnecessarilythebiggeststar or thecharacterwhois themostsympathetic-itis thepersonwhose desire drives the plot. Will the protagonistachieve his orher desire? This question, sometimes called the central or seat belt question, is designed to providethe maindramatictensioninthestory.It issup- posed to keep the membersof the audiencegluedto theirseats until the answer is known. Even if wealready know the answer, as in all Columbo episodes, westick around to see how the protagonist suc- ceeds,orfails. A subplot is a second story line thatunfolds alongside the main plot. It alwaysexistsinrelationto theplot,andcanfulfill anumberof functions.It canadvancethemainstoryline,oritcanadddepthtothe protagonist or other major characters. The protagonist canbe and oftenisinthesubplot,butnotnecessarily. LindaSegarrefersto themainplotasPlotA. Thefirst subplotshe calls PlotB, andnotesthatitoftencarriesaromanticorotherrelation- shipstory.Subsequentsubplots,if any,arelabeledPlot PlotD, and so on. J In La Bamba, discussed below, four distinct subplots can be identified. Onecomplicationwithrespecttotheprotagonistandherdesireis that motivationcanbe internal or external. A protagonist'sexternal desire, for example,maybeto wina race. Theinner motivation maybe to gain a greater sense of self-worth. Outer motivation is always known in a successful film. Inner motivation mayormay notbe explored. It is also the case that a protagoniSt's external desire may changeduringthecourseofthefilm. Afurthercomplicationisthattheprotagonistmayhaveanunartic- ulated unconscious desire underlying the conscious motivation. In Casablanca, for example, Rick's conscious motivation is to bea tough guy,have power,andmake money. Butas welearnlater, his uncon- sciousdesireisto"comebacktolife"andrecapturetheloveheshared with11sa. Films that explore inner motivation are generally considered MarioBarrera 221 "deeper" andmore worthy ofserious critical consideration. Of the films reviewed in this article, Zoot Suit is theone thatgoes into most depthinexploringtheprotagonist'spsychologicaldynamics. Althoughfilms donothavethecleardemarcationsthatstageplays achieve bybringingdown the curtain, most films are considered to have a three-act structure. Roughly speaking, this corresponds to the setup,thedevelopment,andtheresolutionofthestory.Thetransition fromoneacttothenextisprovidedbyeventsthatSydFieldoriginally called plot points, butare more commonly referred to as turning points. The first act ofa feature-length film lasts approximately a half hour. Aboutmidwaythroughthefirst act,whatisknownas theincit- ing incident, orcatalyst, occurs. Theincitingincident essentially poses thecentralorseatbeltquestion.It hastheeffectofupsettingtheequi- librium ofthe protagonist's world, ofsettingherin motionand get- tingthe storyunderway. InChinatown, for example, the inciting inci- dentcomes when the detectiveJake Gittes is hired bya fake Mrs. Mulwray to spy onherhusband. InKramer vs. Kramer, it happens whenDustin Hoffman's wifeleaves and he must learn how to take careoftheirson. Thefirst turning point follows a short time later and marks the transition to act 2. LindaSegarsummarizes the natureof a turning pointinthefollowingway: It turnstheactionaroundinanewdirection. It raises the central question again, and makes us wonder about the answer. It raisesthestakes. It pushesthestoryintothenextact. It takesusintoanewarenaandgivesusasenseofadifferentfocusfor theaction:! In Chinatown, the first turning pointcomes whenJake Gittes is con- frontedbytherealMrs. Mulwray,andfinds outthatsomeonehasset himup.Thisturnsthestoryinanewdirection. Thesecondactofthescreenplayis almostalwaysthelongest,tak- inguproughlyhalfofthestorytime. Duringthesecondactthestory line is developed, and the protagonist is confronted witha series of obstaclesto overcome.If it is a goodscreenplay,thedramatictension 222 StoryStructureinLatinoFeatureFilms rises as theobstaclesbecomeprogressivelymoredifficultandtheout- comeof the centralquestionis throwninto doubt. Oftena crisis con- fronts the protagonist, and a choice thatreveals something about his charactermustbemade.Theendof thesecond act is signaledbythe second turning point, which provides a fresh twist to the storyline andpropelsusintothefinalact. Thethirdactisgenerallyaboutahalfhourlong,althoughit canbe shorter.Inthisactwehavetheclimaxtothestory,wherethedramatic tensioncomesto aheadandwefindtheanswertothequestionposed in the inciting incident. Because the incitingincident and the climax arenecessarilytiedtogether,theclimaxissometimesreferredtoasthe obligatory scene. Afterthe climax there is usually a brief resolution (denouement),wherelooseendsare tiedupandthestoryisbrought toaclose. Withineachof thethreeacts thestructureisfurtherbrokendown intoscenes,eachonerepresentinganactionthattakesplaceatapartic- ular time andlocation. Thescenes oftenoccurininterrelated clusters thatarecalledsequences. Ascanbeseenfromthediscussiontothispoint,thestructureofa film storyisintegrallyrelated tothenatureoftheprotagonistandhis motivation. Inaddition,it istiedtoaparticulartheme thewriterhasin mind. The theme is also referred to as the premise orcontrolling idea. MichaelHaugedescribes themeinthefollowing passage,differentiat- ingitfrommessage: By theme in ascreenplay, Imean the universal statement the screen- playmakesaboutthehumancondition.Thisis alevelofmeaningthat goes beyond the plot of the film and applies to life in general. The theme is an idea that any member of the audience can apply to her own liie, whether or not she'sbeen in asimilar situation. The theme givestheaudience"wordstolive1-...115 Themeis not the sameas the "message" of a movie. Themessage is a morepoliticalstatementthatconnectsdirectlytotheplot,butithasno obvious appHcation to the average person's own actions. Themes, then, arecommonly found infilms, andare almostalwayspresentin films that are considered classic. Messages are more uncommon becausethey do not strike the same sort of universal resonance in audiences.Still, many classic films embody strongmessages, suchas Silkwood,Missing,andTheChina Syndrome. Haugegoesontonote: MarioBarrera 223 There can also be deeper levels ofmeaning beyond the theme and messageofascreenplay: myth,symbol,allegory,andarchetype. Stand by Me ...develops athemeofrecognizingone'sowngifts and pur- suing them regardless of others' opinions or approval. But beneath that, it explores the terrifying butnecessary deathof one's childhood in orderto realize one'sowngifts. And beneaththatallegorical level, the film is aquest story, aHoly Grail myth portraying the journey from childhood tomaturity,power,andindividuation. 6 AmongU.s. Latinofilmmakers, Luis Valdez (Zoot Suit) andGregory Nava(1 Norte) havesoughttocombinetheme,message,andmythin theirfilms. Themesare related to storystructurethroughthe protagonistand other major characters. Screenwriters,will set forth their themes through their choice of protagonists' motivations and choices. The internal dynamics ofthecharacters aregenerallyclosely tied inwith thecentral theme, and whetherornot the protagonist achieves her goal will generally depend onthe particular thematic point that the writerwishes tomake.Allofthiswillbeillustratedthroughthefilms analyzedbelow. LatinoFilmsandStoryStructure StraightforwardStoryStructure: StandandDeliver Stand and Deliver (1988; directed byRamon Menendez; written by RamonMenendezandTomMusca)isadramabasedonthetruestory ofmath teacherJaime Escalante at Garfield HighSchool in Los Angeles. Escalante, playedby EdwardJames,Olmos, quits his job in privateindustrybecausehewantstoteachLatinokids.Althoughfac- inginitialresistanceinthisbarrio setting,hewinstheconfidenceofthe students throughhis dynamic teaching methods. Despiteskepticism from his fellow teachers, he inaugurates a calculus class designed to preparestudentsfor theAdvancedPlacementtestthatwillgivethem college credit. Eighteenstudentssurvivethe rigorous trainingsched- ule and successfullypass the test, only to come undersuspicion of cheatingfrom theEducationalTestingServiceexaminerswhoadmin- ister the exam. The students agree to retake the test, and all pass again, vindicatingEscalante and themselves. They havestood and delivered. 224 225 StoryStructureinLatinoFeatureFilms Thisfilm is agoodonetostartwithbecauseitis anuncomplicated example of the classic paradigm. There is oneclearly identified p r ~ tagonist, Escalante,andhehasa straightforwarddesire, whichdrives thestory:thatofmakingadifferencethroughteachingbarrio students. The inciting incident comes early, when he starts to teach and is directed to a mathclass, although his initial assignment had been to teach computerscience. Thefirst turningpointcomes when heinau- guratesthecalculusclass.Duringthesecondactanumberofobstacles surface,whichneedtobeovercome:studentresistance,unsympathet- ic parents, and Escalante's heartattack. The second turning point comes when the studentspass the initial examand are accused of cheating. Fora while it looksasifthe protagonisthasfailed to attain hisdesire,butthestudentsthemselvesrestorehisdrivebyexpressing their confidence in him. The climax comes when they take the exam again, triumphing against all odds. In thebriefresolution, statistics flashonthescreenshowingthecontinuedsuccessofGarfieldstudents ontheAdvancedPlacementexaminsubsequentyears. Theprotagonist'sinnermotivationisnotexploredinthefilm, and hedoes notundergoa transformation duringthe course ofthe story. Hebegins idealistic and ends idealistic, havingbeen proved right. Thereare nosubplots.Weseelittle vignettesaboutvariousstudents' livesoutsidetheclassroom,butnoneissufficientlydevelopedtoqual- ify as a subplot. The turning points, climax, and resolution all come justaboutwhereonewouldexpectthem.Allinall,then,wehavehere a goodexampleof classic storystructurethatworkswellandresults inasuccessful,receivedfilm. This film also illustrates the difference between themeand mes- sage. The themehas todo withbelievinginyourselfandsucceeding againstoddsthroughdetermination.Themessage,ontheotherhand, is that institutionalized racism continues to exist and must be taken intoaccountbynon-Whitesattemptingtoimprovetheirlot. Use of Subplots: TheMilagroBeanfieldWar InThe Milagro Beanfield War (1987; directedbyRobertRedford;written DavidWardandJohnNichols;basedonJohnNichols's1974novel) JoeMondragonis anintermittentlyemployedworkerandhandyman in a small northern NewMexico towncalled Milagro. Heis turned down for work at the Ladd Devine land development company, MarioBarrera whichdominatestheeconomyoftheareaandhastakenovermuchof the land and water rights that usedto belong to the region's small farmers. Withoutmeaningto, Joe taps intothe Devinecompanyirri- gationcanalthatrunsbyhisuncultivatedbeanfield,andthendecides togowiththeflow. Wordsoonspreadsthroughoutthearea.Thelocal sheriff refuses to act for fear ofstirringupthe local people, who are sympathetic toJoe because ofresentment toward the encroachments ofthe Devine company. Concern reaches all the way to the New Mexicogovernor,whodispatchesanagenttotakecareofbusiness. The second act consists ofa long series of moves and counter- moves, withJoe andhis town supporters onone side and theLadd Devinecompany,the governor's office,andtheForestServiceonthe other. Theoutcomeis still inquestionwhenJoe shootsthepetpigof his neighborAmaranteCordovaafterfinding thepigeatinghisbean plants.Amarantecomesoutwithhissix-gunblazingandJoeisforced to shoot himtoo, and then flees to the mountains. Joe eventually returns,andheandthetownspeopleface downtheforces oflawand orderand gain a victory. In thepostclimax resolution, Amarante Cordova,whohassurvivedJoe'sbullet, dies ofoldageandisledoff by anoldmanspiritfigure whohauntsthetownandthefilm. This film also follows the classic paradigmin its main plot. The catalystconsists ofJoe'sstartingto waterhisfield, andthe first turn- ingpoint comes when the forces ofLadd Devine and the governor coalesceandcomeafterJoe. Thesecondturningpointisclearly when JoeshootsAmaranteandhispig,andtheclimaxisthefinalconfronta- tioninthebeanfield.Theresolutionisdescribedabove. Inthisfilm, however,wealsohavetwosubplotstocomplicatethe story line. One has to do with the relationship between Ruby Archuleta,a shopowner, andCharlieBloom, a lawyerandpublisher ofa local newspaper. As shebadgers him into writing aboutJoe Mondragon's struggleandthen representing him legally, a relation- shipdevelopsbetweenthem.By theendofthefilm they'reoutirrigat- ingJoe'sfieldtogether. A secondsubplotdeals withthefriendship thatdevelopsbetween AmaranteCordovaandanineptgraduatestudentnamedHerbie. All truesubplotshavethesameessentialstructureasthemainplot. Here weseetheincitingincidentwhereHerbiecomestotownandisdisori- ented. The first turning pointfinds Herbieinterviewing Amarante 226 StoryStructureinLatinoFeatureFilms Cordova.ThesubplotdevelopsasCordovabecomesHerbie'sguideto the area. The second turning point is when Amarante is shot, and Herbieis thrownintocrisis.TheclimaxconsistsofAmaranterecover- fromthegunshotanddecidingnottoprosecuteJoel andthereso- lutionhas to dowith Amarante's death. As with the main plotl you havesetup,development,andresolution. Tlte Sltadow Protagonist: LaBamba Like Stand and Deliver, La Bamba (1987; written and directed byLuis Valdez) is based on a true life story. Here the protagonist is Ritchie Valens,whosemeteoricrockmusiccareerwascutshortin1959atage seventeenbyanairplaneaccident. Makinga film basedon a realhistoricalcharacterpresentsspecial problems, particularly if the timeis recent. Most people'slives don't fit aneatHollywoodscriptformula,andthereis onlysomuchfiction- alizationonecangetawaywithif thecharacterlsfriendsandrelatives are still kicking around. Making a film based onRitchie Valens pre- sented an additional problem in thathis life was very short. Valdez solvedhisstoryproblemsinpartbybuildingacomplexsubplotstruc- tureintothefilm. 1havebeenabletoidentifyfourdistinctsubplotsin La Bamba, twoinvolvingRitchieandtwothatrevolvearoundhisolder brotherBob. The storybegins withbrother Bob onhisbig motorcycle, riding intoamigrantlaborcampwhereRitchie,theirmotherConnie l andthe other kids are working. Bob offers Connie money to move into the city. She accepts it reluctantlYI fearing it is drug money. Bob almost immediately gets it onwith Ritchie's virginal girlfriend, Rosie, who becomes Bob/s girlfriend whenthey all move to Pacoima, in the San FernandoValley.(Thiswholesequenceisfictionalized.) AtPacoimaHighSchoolRitchiedevelopsacrushonablondeval- leygirl,Donna,laterthesubjectofoneof hishitsongs.Theybeginto date innocentlYI although herracist father disapproves of Ritchie ("What is he-Eyetalian?'/). Already a hot guitarist, Ritchie quickly joinsalocalgaragebandandiseventuallydiscoveredbyasmall-time music producerl Bob Keene. Keene supervises Ritchie's first record- ings, andpersuadeshimto Anglicize hisnamel whichwasoriginally RichardValenzuela. Inthemeantime,Bobis involvedinshadyactivitiesandmakinga MarioBarrera 227 messofhisrelationshipwithRosie. Sheispregnantandheis running aroundandgenerally actingirresponsibleina colorful l macho sortof way.HepersuadesRitchietorunofftoTijuana,whereRitchieostensi- blyhearsaMexicanband(portrayedbyLosLobos) playingthetradi- tionalweddingsong liLa Bamba." Ritchiewakesupthenextmorning intheshackofabrujo (shaman),whomBobintroducesashisMexican guru. (This is also fictional.) The brujo gives Ritchie a talisman neck- laceto protecthim.WhentheyreturnhomeRosiehashadababygirl. Ritchie'sromancewithDonnasputtersalongwhilehiscareertakes off. Before long he's performing on the East Coast, traveling by air- plane althoughhe's had premonitions ofdyingina planecrash. On oneofhis visitsbackhome he andBob getinto a fight, andBob rips off Ritchie's magic necklace. Shortly after thatRitchie is killed inthe crashofa small airplane in theMidwest. In a shortdenouementwe see thereactionofConnie,Donna, andBob. Thereis abriefrepeatof anearly scene, where Ritchie scrambles up a hill withBob running alongbehindhim. Luis Valdez is a supreme dramatist, and he apparently realized earlyonthattherewasn'tmuchdramainRitchie'slife l apartfromhis premature death. Valens/s success came early and fairly easily, so therewasn'tmuchthereintermsofdramatictension.Hisrelationship with Donna is detailed in a distinct subplot, butapart from her father'soppositiontherewasn'tmuchthereeither. Valdezsolvedthis problem byturning to Bob's storYI which is containedinthree sub- plots. Infact, Bob's story is so important to the movie thatI would arguethatheconstitutesashadow protagonist. Asshadowprotagonist,Bobhashisownstoryline,whichis notas centraltothefilmasRitchie'sbutisacompleteplotinitself.Theincit- ingincidentfor hisstorycomeswhenheisworkingasagarbageman and finds some discarded animation panels ina movie studio's lot. Thediscoverystimulateshisalready-existinginterestin drawing.The first turning pointcomes when heenters anartcontestl and thesec- ondwhenhewinsit, ataboutthesametimethatRitchiegetshisfirst recordingcontract. Theclimaxcomeswhenheripsuphis artworkin disgustafterhefails togetsupportfromRosieandotherfamilymem- bers, and realizes that he will always play second fiddle to Ritchie. LuisValdezhascommentedontheRitchie-Bobcontrast: 228 2.2.9 StoryStructureinLatinoFeatureFilms Ritchierepresentsthespiritofthefifties, thedreamofeverymanbeing able to cry outfrom hisguts andrise to thetop. His half-brotherBob wasriddledwithinsecurityandhecouldn'tfree himselftopursuehis dreams-hewasallcaughtupinself-doubt? Bobisa moreinterestingdramaticcharacterthanRitchiebecauseheis moreconflicted.Inadditiontohavinghisownplotline, heisinvolved in a major subplot depicting his relationship with Ritchie. Valdez comments: TheproblemisthatRitchiehadbeendeadfor thirtyyears,andhewas a cherished memory. Nobodywanted to sayanythingbadabouthim ..."Yeah,hewasaniceguy, nicestguywhoeverlived." Ikeptask- Cmon,didn't he ever do anything wrong, he must have been human? ...Iwantedtoknow,Didheever laid,didhedodrugs, howwas he human? r was getting nowhere. It was all nada, until I talked to his half-brother, Bob. He was reluctant, buthe did tell me they'd fought, and thatit was Bob's own fault. So I thought, well, at least there's a foundation, then, a relationshipbetweenbrothers. And the real-life conflict between them, and Bob's conflict with realizing that the manwho raised him and Ritchie was not Bob's biological father.R This subplot begins with Bob's being reunited with the family and comingintocontactwithRitchie again.Theyhitit offwell atfirst, but thenBob takes Ritchie'ssort-of-girlfriendaway. Intherestof thefilm the relationship between the two half-brothers is stormy. Bob both helps and hurts Ritchie's striving. In the climactic physical fight betweenthem,he ripsoffRitchie'snecklace, symbolicallykillinghim. beforethe enditappearsasifthereis tobea reconciliation,but itiscutshortbyRitchie'sdeath. The remainingsubplot has to do with the relationship between Bob and Rosie. Briefly, it consists of their meeting and moving in together, their fighting, Rosie's pregnancy, and the birth oftheir daughter.AttheveryendBob hasgivenupdrinkingandhasbecome agoodfather. Interestinglyenough,heis theonewhogoesthrougha major character transformation, not Ritchie. His feelings ofanger aboutbeingtheless-favoredbrothergivehimmuchmoreofapsycho- logicaldimensionthanRitchie.Thereasonforconsideringhimashad- ow protagonist is that he actually performs many of the dramatic functions thatarenormallyreserved for theprotagonist. MarioBarrera Dual Protagonists: SaltoftheEarth Ofthefilms reviewed inthisessay, Salt of the Earth (1954; directed by HerbertBiberman;writtenbyMichaelWilson)isthebestexampleofa message-driven film. That itmanages to convey a complex political messageandmaintaindramatictensionthroughoutisa tributetothe skillofthewriter,MichaelWilson. This film was madeby a groupofprofessional filmmakers who had been blacklisted in Hollywood during the McCarthy era. It is basedonarealstrikethatwascarriedoutinNewMexicofrom1950to 1952 bytheInternational UnionofMine, Mill andSmelterWorkers.9 In the processofwriting thescript, Michael Wilson consulted exten- Sively with peoplewho had beenactively involved in the strike. A numberofthoseparticipantsplayedimportantrolesinthefilm. The point of view that the film reflects is thatofEsperanza Quintero, wife ofoneofthe Mexican American millers. The film begins withsomebackground exposition, using her as narrator. The inciting incident is foreshadowed bya near-accident in the mine involving Ramon Quinteroand a confrontation between theworkers and managementoversafety rules. WhenRamonarrives athome he argues with Esperanza. She is upset that the union is notincluding issues that the miners' wives considerimportant in the negotiations thenunderwaywiththemineowners.It isclearthattheirmarriageis seriously strained. In this and other conversations we learn that the AnglominershavecertainprivilegesthattheMexicanAmericanmin- ers do not, such as indoor plumbingand hot water in theirliving quarters. Themainstoryplotis kicked offwitha mineinjurycausedbyan explosion. Theminers' unioncalls a strikeoversafetyissues, andthe local sheriff's office cooperates with the mine Owners to harass the strikers. The first turning point comes when the companygets an injunctionagainst the picketing, and theminers' wives takeover the picket line over the opposition ofa numberoftheminers, including Ramon. Esperanza graduallybecomes an activist, despite Ramon. Ramonis left to takeoverEsperanza'schores, includinglookingafter their new baby. In the process his consciousness about the wives' issuesbeginstochange. After a series ofmovesandcountermovesbythe strikersand the owners, Esperanza and Ramon have a major fight in which she 230 Story Stmcture in Latino Feature Films berates him and the other men for holding the women in a subordi- nate position: tlHave you learned nothing from this strike? Why are you afraid to have me at your side? Do you still think you can have dignity only if I have none?" Ramon and some of the other men take off on a hunting trip, but Esperanza's words finally get through to Ramon. He brings the men back just in time for a climactic showdown when the sheriff's deputies try to evict the miners from the company housing. The company backs down-"for the present." Esperanza provides the denouement with a short soliloquy about having won a victory they would pass on to their children. The theme of this film I would characterize as the idea that the struggle for equality is indivisible, and extends into our daily lives. The messages are that the United States is a society characterized by unequal divisions based on class, gender, and ethnicity. In order to present these ideas in a dramatic fashion, the writer developed an intricate structure involving two tightly interlocking plot lines, each with its own protagonist. The A plot in this case is that of the workers' struggle with the mine owners. The events in this plot essentially propel the overall story forward. The repercussions of those events drive the story line of the B plot, which is that of the relationship between Esperanza and Ramon. The protagonist of the A plot is Ramon-he precipitates the strike and is the strike leader. It is his decision to return from the hunting trip that leads to the solution presented in the climax. The protagonist of the B plot is Esperanza. The novelty of this script is that it makes the point of view of the film that of the B plot's protagonist, essentially creating two equal protagonists. Each has a strong motivation: Ramon to win the strike and get greater class/eth- nic equality; Esperanza to win the strike and in the process gain greater gender equality. Each goes through a profound personal trans- formation. Ramon learns that he has been a pigheaded sexist, and Esperanza learns that she can be a strong leader and activist in her own right. The use of dual protagonists is unusual and innovative, although not unique. West Side Story also makes use of this structural device. For the sake of clarification, the B plot structure is as follows. The inciting incident is the initial argument between Ramon and Esperanza. At the first turning point Esperanza becomes an activist. She takes over picket duty and Ramon takes over the household Mario Barrera 231 chores. This, of course, happens as a result of what is taking place in the A plot. The second turning point comes when Esperanza confronts Ramon, although it is not immediately clear that it is a turning point. The climax comes when Ramon gets the message and turns back from his hunting This film has at times been criticized for melodramatic scenes and its use of some nonprofessional actors, but my experience in showing it in the classroom is that it invariably provokes a strong emotional response from its viewers. Its success as a film stems in large part from the writer's successful solution to the structural problems pre- sented by the complex plot. It was never released commercially in the United States because of a well-financed red-baiting campaign orga- nized against it.1O The Mythic Level: E1 Norte Unlike most of the other films described here, E1 Norte (1984; written and directed by Gregory Nava) is not based on specific historical char- acters or on a preexisting novel or play. It is an original screenplay that tells the story of a Guatemalan Mayan brother and sister forced to migrate to the United States by circumstances in their native land. The story begins in a remote mountain village where the Indian people are compelled to labor on plantations owned by large corpora- tions. The two central characters are Enrique and Rosa, young adults still living at home. Their father is killed by government soldiers while meeting clandestinely with other campesinos to plot an armed struggle against their oppressors. Their mother is "disappeared" in the ensuing crackdown, and it is clear that a similar fate av.:aits Rosa and Enrique. Enrique decides to migrate north, and Rosa goes with him. The two travel through Mexico by bus and arrive in Tijuana to search for a contact who can help them across the border. Before they find him they have a misadventure with a "coyote" who promises to get them across the border illegally but tries to rob them instead. Eventually they make their contact and cross the border through a long abandoned tunnel that their benefactor knows. From there they make their way to Los Angeles. Once in L.A. they are set up in a dilapidated hut by a Chicano ("Don Mocte") who also doubles as a labor agent. Don Mocte gets Rosa a job in a textile sweatshop. Enrique starts work as a busboy in a 232 233 StoryStructureinLatinoFeatureFilms fancy restaurant. Both enroll in English classes. Rosa is forced to change jobs after a raid by immigration agents (lila migra lf ) at the sweatshop. With the aid of a savvyundocumentedMexican immi- grantwoman named Nacha,Rosa is able to avoid theagents. Nacha finds thembothjobs as housemaids for a wealthyemployer. ispromotedto assistantwaiter,sothingsseemtobegoingallrightfor them, until Enrique is turned in to lila migra" bya disgruntled Chicanoemployeewho wantshis job. Enriqueevades theagentsbut loseshisjob. At the sametimeRosa comesdownwithaninfectionbrought on by ratbitessuffered duringtheir tunnelcrossing, andsheishospital- ized. Enrique is compelled to choose betweenstaying at her side or toChicagov\l1th anemployerwhohaspromisedhimaforeman jobandthepossibilityoflegalization.HeremainsbyhersidebutRosa dies. Attheendofthefilm Enriquehasgonetoworkasalaborerona construction crew, trapped at thebottom of thesocial order as his fatherwasinGuatemala. El Norte is anunusuallylong film, some two hours and twenty minutesinlength,ascontrastedwiththeusualfeaturefilm'sninetyto a hundred minutes. The filmmaker, GregoryNava, conceives of the structureofthefilm asdividedintofour actsPThefirst sectionisset offwitha title, "ArturoXuncax," afterthenameofthefather.Thesec- ond part, labeled "EI Coyote," consists of their journey through Mexico. The third titled division ofthe film corresponds to Enrique andRosa's experiencesintheUnited States. Nava considers thatthis lastsectionactuallyconsists oftwoparts,withthedividingline com- when Enriqueis turnedinto theINSbyhis coworker.Fromthat pointoneverythingis. Theauthorof this screenplaythussees thestructureofthefilm as consistingofanunorthodoxfouracts.Somescriptanalystswoulddis- agreewithhimonthatpoint,arguingthatpart2andthefirst halfof part3 constituteonedramaticunit, so thatthere really is a three-act structure.Ineithercase,itisclearthatthedramaticactstructureofthe storydoesnotcorrespondto thethreetitleddivisionsofthefilm. El Norte isoneofthosefilms thatisabletooperateatall threelev- elsoftheme,message,andmyth.Thethemeofthefilm hastodowith thevalueofmaintainingtheintegrityofone's communal,familyties in the face of material, individualistic incentives. That is the choice Enrique confronts at the film's climax. The messagedeals with the MarioBarrera exploitative nature ofcommercial enterprises and their devastating consequences for authentic communities such as those of theMayan villages. Indeed,Navawasmotivatedtomakethisfilm afterwitness- ing firsthand the deplorable conditions ofMayanimmigrantsin the LosAngelesareaP Whatlifts this film above the ordinaryand gives itits extraordi- nary lyrical quality, however, is its connection to myth. Thestoryof EnriqueandRosa,andmuchofthesymbolisminthefilm,comesfrom thecreationmythoftheMaya,thePopolVuh,andotherMayantexts. AsinthePopolVuh,therearetwinheroeswhomustundergoaseries oftrialsandtestsbeforereachingtheirgoal.Thetwinheroesrepresent aninherently dualistic concept oftheuniverse. Throughoutthe film there aredreamsand elements ofmagical realism thatare inspired directlybyMayansymbolism. Even thoughNava realized thatmost of his audience would notbe familiar withtheMayan texts, he felt thatdrawing his imagery from them would give the storya mythic depththatwouldstrikeuniversalchordsandcreatestrongemotional reactions inthefilm's viewers. Frommyexperienceinusingthefilm intheclassroom,hesucceeded. TheInner Story: ZootSuit Ofthefilms reviewed here, Zoot Suit (1982; written and directed by LuisValdez;basedonhisplay)istheonethatmostdevelopstheinner storyof the protagonist. Indeed, the wholefilm is structured around hisinternalstruggle. Zoot Suit isbasedontwohistoricalincidentsthattookplaceinthe 1940s inLos Angeles. Onewasthe 1942SleepyLagoonmurdercase, inwhichseventeenyoungChicanoswereconvictedofthemurderof another Chicano. Twelvewere sentenced to life in prison, although theirconvictionswerelateroverturned. The otherhistorical reference is to the 1943 "Zoot Suit Riots," inwhich American servicemen roamed thebarrios ofL.A., beatingupChicanoswhoweredressed in thestylizedzootsuitstheninfashionamongyoungurbanbarrio men. Thefilm itselfishighlystylized.Thesettingswereallfilmed inside a theater,andweevensee the audiencefrom time to time. Thereare numerousflashbacks andmusicalinterludesduring thecourseofthe film, andthereis acentralcharacter-ElPachuco--whorepresentsan aspect oftheprotagonist'Spersonality,andcanonlybeseenbyhim. 234 StoryStmctureinLatinoFeatureFilms El Pachucocarriesona runningdialoguewiththeprotagonist,Henry and with the audience. Hedictates the pace of the film by to scenes. ofthefilm leaderofthe38thStreet the navy. Heand hisgirlfriendDella are outcele- before his induction, but Henry is beaten up by a rivalgang.Laterthat heandhisganggolookingfor revenge. Unableto find theothergang, crashapartyintheSleepyLagoon area.Afight ensues,andaChicanovouthiskilled.Henrvandanum- berofhisfriendsendupin Henry is almost hysterically makesamockeryofthe incorporatedsectionsof the court verbatim into the script.) During the appeal process, Henry becomes romantically attracted to Alice Bloomfield, aleftistlaboractivist to drumupsupportforhis cause.She,however,is marriedto herworkandrejectshim. Duringthis time the ZootSuitRiots breakout,andHenry'sbroth- eris amongthosebeatenup. Valdezusestheoccasionto pointupthe cynical, rabble-rousing reporting of the mainstream press, especially theHearstpapers. Eventually the murder conviction is overturned, and Henry is reunitedwithhis girlfriend.Valdez concludesthestorybyofferingus three resolutions: (1) Henry was later sent back to jail for anothercrime;(2) HenrywaskilledintheKoreaconflictafterwinning a medal; or (3) marriedDellaandhad three kids whowent to andcalledthemselvesChicanos. Asidefrom thestylizationandmultipleresolutions,themoststrik- ofthefilm is theuse of the Pachucocharacter,whois inex- linkedto the goingoninsideHenry'smind.Wegeta senseofthis inValdez's ownwords, in a lengthy interviewhe RobertaOrona-Cordovain1982. VALDEZ: I call the Pachuco the internal authority. I know he's been called "conscience," he's been called alter-ego, butheisnotso much as heissuper-egobecausesuper-egoisyourconsciencethat tellsyouwhat'srightandwhat'swrong is observedbythe Pachucomostofthetime, but Henry'spoint ofview ofthe Pachuco, and MarioBarrera 235 that's the crux of thestory. It's obviously Henry'sstrugglewithhim- self ... . . . as the characterinthefilm, El Pachuco is alwaysgettingin thewayofthingsthatHenry'stryingtodo: hisrelationshipwithDella for one, hisrelationshipwithAlice, another,andhisrelationshipwith hisfamily . . . thePachucoisalsogoadingHenryintoagreaterlevel ofself-consciousness . . . At the same time thatherepresents those real-life Pachucos, herepresents the essenceofwhat Pachuquismois aU about,whichisthisstruggleforidentity .... Henrywasinprisonandinsolitaryconfinementbecauseofchoic- esthathemade,forgoodorforbad,andthatisreallythebeginningof hisliberation,ofhiswayout. So longashekeptblamingtheexterior, thedeeperhewasgoingtobedrivenintohimself ....Onceyouare leftaloneandyouhavetothinkit through,youareeithergoingtosur- viveoryou arenot tosurvive ...You haveto havea reason for findingyourselfina toughsituation. That'sHenry'sproblem,and hemakesit.Hemakesitbecausehecomestotermswithhimself. INTERVIEWER: Areyou theresolutionwasaninternalone, with himself? AlsoheisabletogettothepOintwherehehopes Iwant tofeel thatHankhada greaterdegree outofprison. The Pachuco is inwhiteand that Henry sees as well . threechoices. Allofthis, ofcourse,is UlIplleUj symbolic,butit'sthere ...> The internal authoritythat isat workisnecessary inthepl'"rh,,_ logicalprocessofindividuationthatweall undergo. Every one ashuman aprocesswherebywe individualsin itaccording toourownpersonalstruggles. The wholeSleepy caseis told inZoot Suit intermsoftheper- sonalstruggleof Reyna. Thereisn'tasinglesocialeventthatin somewayyou cannotdefineinpersonalterms, in thepersonalterms oftheindividualinvolved,becausethereis alwaysaninsidepersonal life,andanexternalsociallifeinanyevent.13 In the same interview, Valdez puts the Pachuco figure ina mythical context by presenting him as an archetypal rebel with Native Americanroots. Iliketousethewordmyth becausemythreferstoanunder- > lyingstructureofatruththatisjustbelowthesurfaceofreality. . . . Revolutionaries are very frightening, prophets are frightening, peoplethathavea certainkind ofhiddenpowerscare otherpeople. Theyareintimidating;therewasalotofthatinthePachuco. Butthose 236 Story Structure in Latino Feature Films in the know cannot fail to him (in the film) as a reincarna- tion of the ancient god Texcatlipoca. His style, his colors, his powers are all attributes of ancient wisdom ... EI Paclmco is thus a symbol of our identity, our total identity, with ancient rootS.14 Luis Valdez has thus created in Zoot Suit an amazingly complex tapestry that interweaves two historical events, a courtroom drama, h'Vo love stories, several musical numbers, political messages, multi- ple resolutions, and myth. But the core of the story, the element that makes it all hang together, is the inner transformation of the protago- nist, his journey toward self-awareness. Structural Problems: Alambrista So many factors affect the commercial success or failure of a film that it is impossible to know with any degree of certainty how much influence anyone of them has. Alambrista (1979; written and directed by Robert Youngt the first feature film to deal seriously with the question of undocumented immigration from Mexico, has a number of excellent qualities. It is well acted, and it captures the gritty "feel" of the U.s.-Mexico border as perhaps no other film has. There are a number of memorable scenes, some touching, some funny. Despite this, the film was not commercially viable, and is now all but able. Part of this may have had to do with the fact that the film did not have a "name" actor, or that there is extensive use of Spanish, this was also true of El Norte. It is difficult to escape the con- clusion, however, that part of the problem had to do with the struc- ture of the story. The film in Mexico, where a young farmer named Roberto Ramirez has just become a new father. Since his now-expanded family needs the money, he decides to seek work in the north. His mother urges him not to go, and we learn that Roberto's father went north many years ago and never returned. Roberto makes his way to a border town, and crosses over at with a group that is caught by the border patrol. He escapes and finds field work in Southern California, but is cheated out of his wages and moves on. At another job he meets "Joe/' an undocu- mented Mexican worker who knows his way around (played beauti- by the late Trinidad Silva, "Don Mocte" in EI Norte). Joe instructs Roberto in how to act in restaurants, and even how to pick Mario Barrera 237 up American waitresses. "But I'm married," protests Roberto. So what, answers Joe--this is the United States. Roberto hooks up with Joe, and they head farther north, riding the rails. Along the way Joe disappears, apparently having fallen off the boards they were riding under the train. At his next workplace an exhausted Roberto passes out on a side- and is taken in by a blonde waitress named Karen, who nurses him back to health. In a great scene he attends a fundamentalist Protestant church service with her, looking on wide-eyed. Despite the language barrier between Roberto and Karen, they become romanti- involved after she invites herself into his bed. Their developing relationship is cut short when "la migra" raids a dance bar and cap- tures Roberto. Back on the Mexican side of the border, Roberto and others are recruited to cross over again to break a field strike in Colorado. Exhausted from the arduous journey, Roberto nearly goes berserk upon arriving. His first day at work another worker dies right in the fields, and Roberto discovers that it is his father, Alberto Ramirez. Going through his effects, Roberto finds that his father had another in the United States. The next day he heads back to Mexico. At the border station he passes a Mexican woman who has just given birth on the U.S. side. "Thank God/' she exclaims, "he won't need papers!" Roberto walks on by to Mexico. From a structural standpoint, Alambrista starts off conventionally with a standard setup and inciting incident, and a turning point when Roberto decides to head north. After that, however, there is a long second act in which Roberto's difficulties are shown. There is nothing resembling a second turning point, uflless one wants to think about his breakdown as such. This comes close to the end of the film, practically at the same time as the climax, when Roberto's father dies. The major structural problem, however, is with the subplots. There appear to be two subplots, one being the relationship between Roberto and Joe and the other between Roberto and Karen. In each case interesting characters are introduced and something seems to be developing, and then there is a sharp truncation before there is any resolution. In both cases there is a feeling of incompleteness. It may be that Robert Young was trying by this device to convey a sense of the unpredictability and lack of control that characterize the life of 238 Story Structure in Latino Feature Films the undocumented worker, but my own subjective feeling was that there was something wrong with the story. I half expected Joe and Karen to reappear somewhere down the line, but they never did. A third problem has to do with the passivity of the protagonist. It is generally recognized that in successful films the protagonist must act and not just react. Roberto is portrayed as sympathetic and resourceful, but he spends most of his time reacting to his situation. The sense of a passive protagonist is reinforced by the fact that he has very little to say throughout the film. Conclusion: Protagonists, Themes, and Messages The purpose of this essay has been to show how the concept of story structure can be used to analyze films about Latinos in the United States. Although there are still relatively few feature films about there is a fair amount of structural variation in those films that do exist. In concluding, I want to make a few observations about protagonists, themes, and messages. One of the more obvious points is that all of the films described here have male protagonists. The only one that has a female protago- nist (Salt of the Earth) also has a male protagonist. Gregory Nava con- siders that El Norte has dual protagonists in Rosa and Enrique,15 but my feeling is that Enrique is really the protagonist here. He is the one who makes the decision to go north, which provides the first turning for the story. At the climax of the film he is the one who makes the key decision again, to stay rather than to leave. Rosa is a central character, but in dramatic terms not a protagonist to the same degree that Esperanza is in Salt of the Earth. The overwhelming preponderance of male protagonists is un- doubtedly tied to the sheer numerical dominance of men among writ- ers, directors, and producers. All of the stories looked at here were written and directed by men. The only female producer of any of these films was Anna Thomas for El Norte. One of the key aspects involving protagonists is whether their inner story is developed, and whether they undergo a process of transformation during the course of the film. Of these seven films, the ones that focus on the inner story of the protagonist are Zoot Suit and Salt of the Earth. In La Bamba there is little development of the Mario Barrera 239 inner story of the protagonist, Ritchie, but there is of the "shadow pro- tagonist," Bob. In terms of themes, most of the films touch on the values of courage and determination in achieving one's goals. A second major theme has to do with affirming family and communal values (espe- cially in Alambrista, La Bamba, and The Milagro Beanfield War). Zoot Suit and El Norte also have a deal to say about the value of defending and maintaining one's ethnic identity. These seem to be the three major themes in these films. As far as political messages are concerned, only Salt of the Earth focuses on the unequal role of woman in society. A more common message has to do with the persistence of racist attitudes in American society (Stand and Deliver, La Bamba, and Zoot Suit). A surprisingly large proportion of the films include messages about ethnic exploita- tion specifically tied to economic interests, an uncommon theme in mainstream American films. This type of message can be clearly seen. in El Norte, Alambrista, Salt of the Earth, The Milagro Beanfield War, and Zoot Suit. Notes 1. The most influential book of this type in recent years has been Syd Field's Screenplay (New York: Dell, 1979). Other important works include Linda Segar, Making a Good Script Great (Hollywood: Samuel French, 1987); Michael Hauge, Writing Screenplays That Sell (New York: McGraw-Hill, 1988); and Viki King, How to Write a Movie in 21 Days (New York: Harper & Row, 1988). A number of other script analysts do not have books out, but popularize their concepts through workshops and videotapes (John Truby, Robert McKee, Tom Schlesinger, Matt Keener and Corey Mandell, Ken Valentine, and others). This work in turn is part of an older tradition of,analyzing drama that includes Lajos Egri, The Art of Dramatic Writing (New York: Simon and Schuster, 1946), and extends all the way back to Aristotle's Poetics. There is also a parallel in this writing to the classic analysis of folktales in Vladimir Propp's Morphology of the Folktale (Austin: University of Texas Press, 1968). 2. Other films often cited in the literature include Citizen Kilne, The African Queen, Apocalypse Now, High Noon, The Graduate, Body Heat, Bonnie and Clyde, The Deerhunter, Star Wars, and Three Days of the Condor. Interestingly, there is not a single film with a nonwhite protagonist included in this list. 3. Linda Segar, Making a Good Script Great, 26ff. 4. Ibid., 16. 5. Michael Hauge, Writing Screenplays That Sell, 31. 6. Ibid., 80. 7. Jim Gladstone, ULa Bamba: Valdez, Valens and the American Dream," Calendar Magazine, August 1987. 240 inLatinoFeatureFilms 8, Ken "LuisValdez:TheInterview,"San Francisco Focus 1987): 104-5, 9, For a comprehensive discussion ofthe makingofthe film, see MichaelWilson and DeborahRosenfelt, Salt of the Earth (Old Westbury,N,Y,: FeministPress,1978),See also Deborah Rosenfelt, "Ideologyand Structure in Salt of the Earth," Jump Cut 12/13 ()976): 19-22. 10, ThiscampaignisdescribedindetailinWilsonandRosenfelt'sSalt of the Earth, Interview GregoryNava,September29,1990, 12. Ibid, 13. Roberta Orona-Cordova, "Zoot Suit and the Pachuco Phenomenon: An Interview with Luis Valdez," Revista Chicano-Riquena 11 (1983): 98, 100, 101, 102, 107, 108, 14. Ibid" 98, 100. 15, InterviewwithGregoryNava,citedinnote11, Crossover: Hispanic Specialty Filnls in the u.S. Movie Marketplace David Rosen Introd uction The1980swill longberememberedas the "goldenage" ofAmerican filmmaking, particularlyfor "specialty" orartfilms. Not weremoreindependentfilms producedduringthe decade than everbefore,butmanyachievedsuchcriticalandfinancialsuccessthat theyhelped launchthecareersofmanyoftoday'smostnoted actors, directors,producers,andwriters. Suchestablishedtalentsas Edward JamesOlmos,John Sayles, MoctesumaEsparza,SpikeLee, andSusan Seidelman,to namebuta few, builttheir professional careers during the1980s,1 Thischapterexaminestheperformanceofthreeofthemostimpor- tantindependent films ofthedecade: The Ballad of Gregorio Cortez, El Norte, andStand and Deliver. Alltheseh v ~ recognizedasinvalu- able Hispanic films, speakingabout and to a sizableU.S. "minority" that all too often has gone unrecognized and unappreciatedby the dominant Hollywood movie studios, But equally important, and equally unrecognized, each ofthesefilms is a labor oflove, a testa- mentto thevisionand dedicationofthefilmmakers whomadethem. Eachfilm is anexampleofhowentrepreneurialcreativity andperse- verancecombinedinthefilmmaker's marketingefforts to ensurethat thefilm found a committed audienceandachieved relativecommer- cialsuccess. "Specialty" films-and theyare notmovies,orflicks-are If likeallmotionpicturesinthattheyare definitionfeaturelenfrth(75 241