El Norte

What a beautiful, powerful and endearing film that Gregory Nava has given the general film watching public. While few people have ever seen this film, it rates as one of the best films ever in regards to Latin American cinema. Sure, the budgetary constraints can be seen in many parts of this film, but the overall artistic stamp of the film more than makes up for the lack thereof. In our current society of anti-immigration,

one has to experience the pain and torment some of the people have to experience just to get the chance to live in America. This spirit alone gives me respect for most working immigrants, even if some are illegal. Even 20 years from now, Latin American film courses will still use this film as one of its finest examples.

Like Ruben Martinez's recent nonfiction work on Latino emigrants, "Crossing Over," Gregory Nava's film, "El Norte," begins with a re-working of the Passion Play--only this time the Christ figure is Arturo Xuncax, a Guatemalan Indian and guerilla leader, who's betrayed to the landowner/elites by one of his own followers. As a result, Xuncax and his "disciples" are killed in a bloody nocturnal raid staged by the elites' enforcers--members of the Guatemalan military--and Arturo's severed head is suspended by rope from a tree limb to serve as a warning to others who may conspire against the Oppressor.

Viewers are forgiven, therefore, if they expect a story of political martyrdom and vengeance, since it is Arturo's son, Enrique, who takes up the machete that his murdered father (a "Man of Peace") refused to bring along with him to his fate. Instead, Enrique is advised by a friend to strike out to "el Norte." And since the military has vowed to de- populate Arturo's village, this would appear to be sound advice.

Thus begins one of the best "journey" films ever made. Enrique and his sister, Rosa (presumably, both are still in their teens), make the long trek from their once-idyllic Central American mountain village to what they mistakenly believe will be a comfortable, material existence in California, US of A.

While the Guatemalan scenes in "El Norte" are dark, foggy, murky, and formally paced, the second section of the film (subtitled "El Coyote") begins with a blast of mariachi music and we see the pair of young travelers on a bright, sunlit, modern Mexican highway. Most of this section deals with Rosa and Enrique's efforts to cross the Mexi-Cali border, yet this portion also gives the director a chance to delineate the personalities of his hero and heroine.

Enrique is characterized as an idealist, a dreamer, eternally kind at heart to everyone. No less kinder is Rosa. But as Enrique explains to a retired smuggler, "I think she is stronger than the two of us put together." He's right. Rosa possesses a harder edge than Enrique--an inner strength, in fact, that makes her the emotional and spiritual center of the film. On a bus ride through the Mexican countryside, she refuses to close the window next to her seat, despite the protests of a man sitting behind her; she refuses to be prevented from embracing and observing life as it truly is. Rosa is a realist. While in Tijuana, she explains to Enrique that the sale or pawning of their mother's jewelry is the only practical way they can finance their crossing over to America. Enrique, ever the sentimentalist, objects. But Rosa insists; and in the end, she wins this minor argument.

Brother and sister do manage to make it across the borderline--but at a terrible price that doesn't become evident until the film's conclusion.

"El Norte" was made on a shoestring; but Nava's direction is clever, sometimes in a style reminiscent of late-50's French New Wave, but more often as naturalistic as an Upton Sinclair novel. Indeed, a scene showing Enrique flexing his muscles while begging for work with a construction crew seems an obvious reference to Sinclair's "The Jungle."

The film is very well-cast, every scene directed economically but effectively. There is no waste-motion in this movie. Its rhythm is lyrical without being needlessly reflective. The acting is first-rate, especially the performances of two of the minor players: Lupe Ontiveros (as Nacha, Rosa's friend in Los Angeles) and Trinidad Silva (as Monte, the cynical, opportunistic baseball fanatic).

I saw El Norte (The North) some years ago when my then girlfriend (whose father was from Mexico) rented the video and made me watch it. I'm glad she did. It covers the very basic quest story of a brother and a sister who flee Guatemala (where the indigenous population was being exterminated) through Mexico to try and find a new life in the US. Along the way they encounter all the setbacks you would imagine, including a few you don't expect. This is a serious and dramatic film that is also not afraid to find the humor that can still occur in the midst of deep struggle.

I understand that this movie was made on a shoestring and at times it shows. But the story and the acting more than carry the day. Its creative team (Gregory Nava and his wife Anna Thomas) are also responsible for the movies Selena and Mi Familia (among others), both excellent films. I think that the real history of most people living on the earth, who live ordinary lives and struggle against sometimes oppressive forces outside their control, has largely gone unwritten. In its own small way, this movie begins to make up the deficit.

Excellent--highly recommended

Gregory Nava's drama, "El Norte," is hands-down the best film ever made about the Latin American immigrant experience in the US. It's also one of the best films of the 80's.

Wonderfully acted and expertly directed, this film will make you think twice about the "invisible" people who clean your house, watch your kids, make your food, garden your yard, wash your car, etc. This movie puts a face to those people and their day-to-day struggles here in this country. It's not always a pretty picture.

Although this film is fictional, at times it feels like a documentary. It's not a documentary however, because it's also quite funny and it contains elements of magical realism.

This film is a landmark of Latino filmmaking in the US. Watch it today!

This movie is a touching story of a brother and sister trying to escape oppression in their native Guatemala and escape to 'El Norte' after the rest of their family has been taken by the army. We experience their hardships with them and see their fears and are constantly rooting for them to cross the border safely and hoping that they will find their place in the United States. They quickly realize that in 'El Norte' not everyone has a car and tons of money like their father had said. They bounce from city to city looking for work and avoiding deportation and realize that there is no place for them – not in Guatemala, Mexico or the United states. There is a lot of magical realism in the movie (which I'm not a fan of) and the ending is ambiguous but it is a great film that the viewer gets involved in emotionally.