Meet Me Halfway
In this edition of the blog, we head over to 20th Century South America, where society is collapsing under the weight of violently-opposed ideologies in the moving Chilean drama-historical,
Machuca (aka My Friend, Machuca)
(2004) Written by Eliseo Altunaga, Roberto Brodsky, Mamoun Hassan, and Andrés Wood Directed by Andrés Wood
“You insist upon acting like an animal. It’s all about you, and only you. And what about the others? Don’t they count?”
Chile 1973: the country is torn apart by a civil war fuelled by class and ideological differences. The wealthy oppose their Marxist government and all who support the nationalization of local industry, while the poor, driven to near-destitution by a prolonged economic depression, lack of production and employment opportunities, champion the Communist cause as their only hope of survival. In the midst of the ongoing conflict, two boys find friendship despite their wildly-differing backgrounds. Inevitably drawn into the madness all around them, it can only be a matter of time before their two worlds will pull them apart.
Machuca is a compelling pseudo-historical drama that explores the social upheaval during the time of Chilean president Salvador Allende. The controversial figure rose to power in 1970, more as a compromise candidate than by popular vote. The Nixon administration sought to remove him due to US fears his Marxist policies would make Chile another Cuba, and their fears were supported by local property and business owners. Those struggling to make ends meet at the other end of the spectrum saw socialism as a means to counter perceived greed: they could see that not everyone had to queue up for food rations, live in slums, or worry about job prospects. With the gulf ever-widening, strikes and clashes were inevitable. But if either side felt the hand of victory by the time of Allende’s alleged suicide in 1973, it was to be short-lived, with the country seized by a military junta and the brutal dictatorship of Augusto Pinochet for the next two decades.
All of which merely strikes the surface of this truly complex chapter of Chilean history and the many forces that brought the nation to its knees in the early 1970s. Yet Machuca’s brilliance lies in its ability to convey the essence of the conflict by paring it down to its emotional core. It is a battle between two sides so entrenched by wealth and poverty that they will never be able to reconcile – each side is seen as causing the destruction of national stability and each, in its own way, is right. And, like the similarly-themed Albanian film Slogans, Machuca shows the tragedy of such entrenched social warfare – that any attempt to look past these differences by focusing on basic human commonalities is ultimately thwarted by the very ideologies supposedly designed to create a more socially harmonious world in the first place. However, where Slogans focused more on the failure of Marxism because of party politics interfering with basic social development (eg – education, relationships, etc), in Machuca, the income divide is the principal barrier.
“Machuca’s brilliance lies in its ability to convey the essence of the conflict by paring it down to its emotional core.”
No film really could do justice to the broad strokes of the conflict, and thus we see only splashes of it through the eyes of sensitive teen Gonzalo Infante, as he discovers the many sides to the story and finds himself unable to make true sense of any of it. Born into wealth, Infante finds himself having to reconcile his privileged world with that of Pedro Machuca, one of the many poor classmates introduced into the school by the Christian priests in charge of their education, as part of their attempt to give equal rights to the impoverished. Through Machuca, Infante experiences life on the other side of the coin, and finds himself enjoying his new friend’s down-to-earth earnestness, the Communist rallies Machuca’s family attends, and even more so, the bewitching charms of the girl next door.
Though viewing the adult world through the lens of childhood innocence is nothing new in film (other examples include The Blue Kite, Empire Of The Sun, and Great Expectations), it is an understandably-useful narrative tool for showing different sides of an issue without picking any. It is probably one of the only ways to maturely deal with subject matter for which there are no easy conclusions. Children are also the only social group within such entrenched ideologically-conflicted circumstances who will reach out to each other regardless of the stance their elders have taken. They have not yet learned to hate for stupid reasons. A similar argument could be made for romance, though we all know how Romeo & Juliet ended.
By making its principal characters adolescents, Machuca shows the point at which such hatred begins to manifest, and is as much a voyage of self-discovery for Infante and his contemporaries as it is the first steps toward understanding what the adults are fighting about. Indeed, for Gonzalo, a fairly sensitive-yet-reserved boy, the discovery of the impoverished class and their beliefs is the point at which he begins to find his voice, even if it is only able to speak with mounting confusion. It’s perhaps telling that he only begins to grow when removed from the stilted world of the private school (where indeed those with the most to say are the classist and insular bullies) and the machinations of his social-climbing mother, whose affair with a richer man and social snobbery is never subtle. In Machuca, we get the sense that this is the first time Infante experiences true friendship, and in the slightly-older shanty town neighbour Silvera, his first sexual awakening. For Infante, travel truly broadens the mind. He is a better person precisely for making an effort to understand difference that his financial contemporaries would be both unable and unwilling to perceive – a common occurrence in any society.
This universal element of growth and personal discovery is another reason why Machuca can reach out to a broad audience who may know nothing of Chilean history. It should resonate with anyone who has dared to step outside of their ‘normal’ world and see the way others live. I would even argue it’s a test of character that everyone should undergo in order to progress to some kind of maturity, and one all the more important in our increasingly-globalised world. The film even makes frequent comparisons to ‘The Lone Ranger’, a story about a man who befriends an American Native.
It’s an interesting comparison to make, given that Machuca is no Tonto, but a strongly-independent character in his own right, and because in the less ‘idealised’ Chile, class differences are seen to divide even the sturdiest of relationships. This makes the friendship between Machuca and Infante all the more important for the journey the two embark upon (how much can they learn from each other before the inevitable happens?) and all the more tragic because their union represents Chile’s last, best hope for peace.
That said, there were certainly more mature elements of Chilean society working to bridge the divide as well. We learn at the film’s opening that the school the boys attend was based upon the very real St. George’s College, a private English-language school in Santiago. In fact, director Andrés Wood dedicates his film to a Father Gerardo Whelan, who served as the college’s director between 1969 and 1973, which suggests a strong biographical element to Machuca. Father McEnroe, his fictional alter-ego, is a bear of a man with a powerful sense of justice working tirelessly to bridge the social divide – even when it seems as though no-one else will thank him for it.
And this is the truth of the whole sorry affair: this wasn’t simply a clash of ideologies driven by people who genuinely believed their way of life would ultimately benefit society. Most Chileans didn’t want to be reconciled with the other side, but desired true segregation, the logical end point of the class war. The lines have been drawn long before the two boys discover each other, the final clash only a matter of time. When the Pinochet junta assumes military control of the country, only one side will have the means to avoid the opening salvo of the dictator’s long reign. It is a reign that will care nothing for the previous social conflicts, except inasmuch as they have paved the way for its existence. Here, when blood lines the streets of the capital and its shanty towns have been erased from existence, does Chile follow the main characters and awaken to the reality of their world. The real growing pains are about to begin.
Amazingly, Machuca was shot under very tight conditions due to a miniscule budget that the director and his crew have done very well to mask. This is achieved firstly through the excellent on-location filming which ensures an authentic viewing experience. From the location used to serve as the private school to the standing sets of the shanty town to the frenzy of the busy urban landscape, I can only wonder how someone with more money might have done better. Post-production also plays a major role in the look and feel of the picture, alternating between the vibrant spectrum that today’s software can create – scenes of high drama are even given that colour-bled filter which works so well to match the bleakness of hope dying on-screen.
“This wasn’t simply a clash of ideologies driven by people who genuinely believed their way of life would ultimately benefit society. Most Chileans didn’t want to be reconciled with the other side”
Major credit must also go to the choice of actors, particularly when many of them, including the principal stars, had had no professional experience. Wood apparently spent the better part of a year coaching them prior to shooting, and it is a labour that really pays off. Great attention too is paid to the setting – it really does look like 1973. With or without the crew’s many restrictions, Machuca can stand tall for its achievements.
Those better-versed in Chilean history may perhaps take issue with the politics presented, or be disappointed that a major cinematic commentary on that period keeps its distance from a particular stance. It is still fresh in the memory for many who will have their own story to tell. In time, we may come to hear them. However, for novices like myself, Machuca is a very compelling and accessible work that succeeds because of its very universal human drama. We may not have lived through that mad episode of Chile’s development, but through this film, we can recognise in ourselves the people who did.
“The film is essentially a ‘passing-of-the-torch’ adventure between a father and his son, as one takes over the other’s physically-demanding job of delivering the mail on foot to remote villagers along a 115km circuit through the mountains of China’s Hunan Province in the early 1980s. It is a job that requires extended periods away home and thus father and son have until now been strangers to each other, truly developing their relationship for the first time because of the father’s decision to accompany his successor for his first trip in order to show him the ropes. The son in turn is eager to demonstrate his capabilities, but finds that being a postman is not as easy as it looks.”
The light, but touching Chinese rural drama, Postmen In The Mountains, next time on World On Film. See a trailer below.