646f9e108c La Soldadera (the female soldier), focuses upon Lázara a simple country girl who is caught up in the Mexican Revolution. At the beginning of the film she is a newlywed whose husband, Juan, is forced to join the federal army during the Mexican Revolution. Lázara chooses to follow Juan, but unfortunately, he is soon killed in battle. One of the Villista soldiers (supporters of Pancho Villa), Nicolsá, takes Lzáara to be his woman and so she becomes part of their band. Lzáara has to walk alongside Nicolsá's horse whilst carrying his rifle and gun belt as they travel. One of the older "soldaderas" put the gun belt on Lzáara and shows her how to shoot. Although Lzáara does not fight she is present during moments of conflict and is involved in the looting of a town. But Lzáara wish for nothing more than a home. This is a fascinating portrayal of women in the Mexican Revolution. There is a stark contrast between the men who ride on horseback and the women who are forced to walk carrying their heavy belongings; the men tower over the women which creates a sense of oppression and superiority. The "soldaderas" seem to have little choice in participating in the Revolution and as such are constructed as passive victims. There are, however, a few women within the film who fight for themselves and not because they were forced to join by their husbands. The change in appearance of Lázara from peasant girl to "soldadera" represents how she moves from passive victim to actively choosing to be a "soldadera."<br/><br/>As has been noted in an earlier comment this film can be enjoyed without a great understanding of Spanish as most of the key events are portrayed through facial expression. If you do, however, speak Spanish and know a little about the Mexican Revolution it most definitely enhances the viewing. <br/><br/>Overall it is a very interesting film from the perspective of the ordinary figures of the Mexican Revolution. La Soldadera is driven by the compelling performance given by Silvia Pinal, (Lázara.) Moving, authentic and heart-breaking, the viewer is drawn into her world which we witness to be collapsing all around her. With very little dialogue, the film is readily accessible to a wider audience than the majority of foreign language films. The emphasis on Pinal's expressions provides the non-Spanish speaking viewer with all that is needed to understand the pain and desperation behind her character. As with any film based upon the daily routines and danger facing individuals in war times, it is by no means a jovial or easy film. However, Pinal finely executes a lighter, rather comical portrayal on occasions. The circularity of the final scene of the train disappearing into the distance nicely links the beginning and end of the film whilst highlighting Lázara's uncertain and dismal future. This film is sure to surprise the least expecting viewer.
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