Canoa

I watched Canoa when it first came out to the movie theaters; I was around 15 and I had lived the 1968's student movement. Tlatelolco massacre was fresh in our minds and hearts and while not referring directly to it, Canoa catches that feeling with honesty and courage. This two qualities are always present in Cazal's work, but this film is his master piece.

We have also tho see Cazal's films in the context of the Mexican cinema of the moment, along with the work of Arturo Ripstein, Jaime Humberto Hermosillo, Jorge Fons and many other talented filmmakers. In Mexico their work tend to be overlooked mostly for political reasons.

Mario de la Garza

For a knowledgeable viewer, there is no doubt that "Canoa" has become a major classic film due to various artistic as well as political reasons. It was one of the first films in the history of Mexican cinema to show that even history especially historical events can be given a fictional form. While watching "Canoa" one can easily understand how Christian religion especially catholic church was unjustly misused for one's personal gains.The use of a local character to narrate important facts and story works very well for "Canoa". A viewer is able to get detailed visual information of events which were responsible for horrible lynching of some youngsters by an irate mob. Authenticity seems to be this film's hallmark as viewers are likely to feel as if tragic events had taken place in their midst. For this reason, Felipe Cazals chose to depict important events through a time prism. Lastly, there are moments when a human body can withstand any amount of blows. One such moment was shown in Canoa when a doctor is utterly surprised to find a victim of violence in good shape. Director Felipe Cazals has always made films which have cast a poignant look at negative aspects of Mexican nation. His films need to be discovered by viewers if they wish to learn more about Mexican society. Hence, for this reason any effort to appreciate Canoa can be called a good start.

This Film takes no concessions, it is certainly one of the most powerful films in cinematographic language, I've ever seen.

Felipe Cazals has done an extraordinary job, previously to Canoa, he did a great documentary about the feelings of the mexicans regarding the foreigners but especially those who were involved in the Mexican life in one way or another.

Cazals maybe tried to input that same kind of documentary-style to Canoa which makes the film more special since it doesn't follow the traditional standards on editing and screenplay.

Highly recommended film that is not for those of weak guts, it has some violent scenes but it don't fall onto morbid stuff.

Also, I highly recommend Felipe Cazals' films (except those of Rigo Tovar ones). it is certainly one of the greatest mexican filmmakers ever.

Reading so much praise to this movie makes me feel that I'm in the late 60's or the early 70's again. Director Cazals has done some good movies, but no master piece at all. So Canoa's not what many of you say it is.

First of all, remember that this picture was produced by Conacine, with money from the Government. It was not censored. Never. And tough it has some brilliant achievements (like Salvador Sanchez' as the narrator), the true is that the Mexican government used some historical events in a very tricky way to present the army as the savior of the remaining students that were not killed by the mob. Of course the catholic priest that appears in the movie is hateful, despite the wonderful job of actor Enrique Lucero. But the movie's big point was to distract people from the social reality that politically speaking was very explosive at that time. So the soldiers make the good ones, when the people was hurt by the recent genocide in Tlaltelolco's ground. And Cazals knew it all the time. Not a bad movie, but you have to consider this, as it is presented as "a part of history", but it has other sides to it.

This is a very hard hitting examination of mob violence and, in my opinion, the best study of a corrupt small town ever put on celluloid. In the perceptive, emotionally wrenching hands of director Felipe Cazals the poor, prejudiced, ignorant, hostile, theocratic village of Canoa makes the town in "Fury", as well as the desert hamlet of Black Rock, look like gated communities in comparison. Particularly in the film's second half, as a Carmelite sister blares anti communist propaganda into a loudspeaker and a very ugly crowd starts to form and an awareness among the five victims of their danger grows, the viewer begins to feel as scared and helpless as they. And the orgy of murder and torture that results is as realistic a look at the effects of crowd hysteria as I have seen on the screen.

After stating the above, any criticisms I may have would be on the captious side. Still, I would have liked the first half to move at a more rapid clip with fewer scenes of the five university workers hanging out together and joking. One such scene would have made the point that these young people are innocents being led to the slaughter. Also, I found the talking head/interview device both intrusive and un necessary, especially the last head, a cynical peasant who I'm sure Cazals intended to be an effective counter weight to the unenlightened citizens of Canoa but who comes across, to me at least, as more of a wise ass, know it all. A minus.

PS...To Alicia Malone: Can we please have more great films from Mexico on TCM Imports? I cannot recall when the last one before this was shown.