Canoa

I live in in Mexico and this movie was censored long time.It is a great movie and represents the reality of 1968 in mexico.

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.

Based on a true story, this movie shows the great differences within Mexico rural and urban areas. Modernity could not be accepted in the rural areas, basically because the ignorant peasants were dominated by certain groups, including, like in this movie, the Catholic Church. Let's remember that the students massacres that had happened in 1968 and 1972 were still fresh in the minds of many Mexicans. Those students had been accused by the Government,of being Comunists. In this particular movie 5 young students of the Capital's State University decide to climb a volcano. Because of bad weather they have to stay overnight in a little village besides the Volcano. The local Priest assumes that they are Communists coming to agitate in his territory and accuses them with the people of trying to close the Church. The mob tries to lynch them. The beauty of this film resides in the fact that fanaticism is shown at its maximum level so as to make us think where this can lead us in our lives. This is true of the corrupt authorities, the Priest that uses Religion to maintain his privileges, the village people that mix Religion and fanaticism, etc. It is a great sociological study of the consequences of these extreme attitudes.

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.

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