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| VIRGIN OF LUST (2002) | |
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Old South American colonies that once belonged to Spain and Portugal were left in a dark period seeking their own identity after they gained their own freedom.
The colonial values were still intact in many of the countries of the South American continent, as old money from the colonial period
was still in political control of the many nations.
The rich got richer while the poor grew in numbers. It was a time of much difficulty among the people of South America, as people from the old world continued to immigrate to this continent.
Europe was emerging the war of all wars, World War II. Spain was under the dark shadow of Francisco Franco, which brought many political refugees to seek sanctuary in the old colonies that once belonged to them.
In the backdrop of this socioeconomic disaster that has been charged through a political storm generated throughout the world unfolds a bizarre love story about a Native Mexican waiter. The waiter, Nacho (Luis Felipe Tovar), is one of the Mexican natives that once belonged to the class below the colonial population that had arrived from Europe. Despite the freedom given to Mexico he is still serving the people with European descent in Cafe Ofélia in Vera Cruz. Nacho’s boss, Don Lázaro (Julián Pastor), often bullies him with derogatory names while commenting on his lack of masculinity, which Nacho merely accepts as if it was normal. Lázaro openly displays his pride for his Spanish ancestors while vocally expressing his strong support for the Spanish dictator Franco. This illustrates the psychosocial interaction between Nacho and Lázaro, which seems to have its roots in the old colonial time when the Europeans were masters and the natives’ servants. Nacho dreams of being empowered, but does not know how to go about being powerful. It appears as if he has been socialized into a mindset that accepts an inferior position in society. This is ultimately clear through his affection for the gorgeous Lola (Ariadna Gil), an opium-puffing prostitute with a heavy habit to gulp large amounts of alcohol. Lola does not reciprocate the strong emotions that Nacho displays, as she has already committed herself sexually to a strong and mysterious wrestler named Gardenia Wilson (Alberto Estrella). Relationships that Lola builds on love and affection are expressed exclusively through physical affection, as she is inept to build a meaningful relationship. Nacho’s inferior position and behavior does not stimulate Lola, as he desires to kiss and lick her feet. This is further developed through Lola’s sadomasochistic relationship to Nacho, which never renders him physical affection as she continues to tease him throughout the story. Visitors come and go to Cafe Ofélia while Nacho struggles with his misery and broken heart. Four of these visitors, Spanish exiles, continue to visit on a daily basis while only smoking and drinking whatever is free. Lázaro informs Nacho that it is essential that he serves them, and stays at the café for as long as they stay. For Lázaro it means more than money to uphold his Spanish legacy, which he does through being friendly with the Spanish freeloaders. These visitors are four different characters in regards to politics and beliefs, but they do agree on one thing – Franco must die. Nacho learns about Franco through the four men, which indulge him into dreaming of killing Franco for a romantic purpose in order to gain Lola’s interest. Nacho befriends one of these Spanish political refugees Gimeno (Juan Diego), as he learns about photography and his revolutionary ideas. Nacho builds the friendship with Gimeno through offering free meals while sharing their affection for opera, especially the Mikado, but for different reasons. Through Gimeno Nacho is exposed to new ideas that he applies to his destructive relationship with Lola. The question is will Nacho relieve himself from the chains of the past and become the man like Gardenia? Virgin of Lust is shot with what appears to be a short lens, which makes the rooms and décor come across grander than in real life. The photography uses much brown and yellow to accentuate the time of the story, as the film will remind the audience of old sepia photography. There is also a heavy use of yellowish-green or shiny dark green, which brings notions of jealously, sickness, and greed to the film. These are creative touches by the Arturo Ripstein, who once was an assistant to Luis Buńuel, but this film has Ripstein’s personal touch and is unrelated to his former mentor's. The final product is an eerie love story of obsession, power, and rejection, which uses political themes such as socioeconomic grouping, colonialism, and revolution to make the story come alive. |
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DIRECTED BY |
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| Arturo Ripstein | |
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Spain / Mexico / Portugal |
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| REVIEWED | |
| 2/21/2005 | |
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The Internet Movie Database. |
