Food,FeminismandFantasyinComoaguaparachocolate

照旧，三年前的文字。已经不能全权代表我对电影的理解和对爱情、生活的理解了，但放在这里，以回顾一下从前自己的视角，也是有意义的。Comoaguaparachocolate(LikeWaterforChocolate)isanovelwrittenbyLauraEsquivel.Publishedin1989,itwasalong-runningbestsellerinMexico.(Shaw37)Itremainedoverayearonthebest-sellerlistoftheNewYorkTimesandwastranslatedintotwenty-ninelanguages.(Shaw37)In1991,MexicanfilmdirectorAlfonsoArau,alsoLaura’shusband,decidedtoadpatthebest-sellerafilm.ThenComoaguaparachocolateturnedouttobethemostcommerciallysuccessfulMexicanfilmofthe1990s.(Shaw37)However,thehighgrossofthefilmdidnotgiveatrueimpressionofthestateoftheMexicanfilmindustry.(Shaw38)In1990s,low-qualitygenrefilmsrelyingonsexandviolenceprevailedthenationalfilmmarketinMexico.(Shaw38)ThefilmdoesnotreflectatruepictureofMexicoeither.Followingthegovernment’smodelofpublicandprivateinvestment,involvingAviasco(aMexicanairline)andtheMinistryforTourism,thefilm“promotesaconservative,romanticimageofruralMexicothatwouldpleasetheMinistryofTourismandthatbeliedtherealityofmasspovertyandeverincreasingurbanization.”(Shaw39)“Itisrepresentedasaruralland,whichhasmaintaineditsculinaryandsocialtraditions.”(Shaw51)Thedirectorhascommented“thegovernmentisverygratefulbecausethefilmdidagreatjobinpromotingtourismandtheimageofMexico”.(Shaw39)FromNoveltoFilmComoaguaparachocolatetellsthestoryaroundtheGarzafamilyduringtheMexicanRevolution(1910-1917).(Lopez-Rodriguez62)Intheranchruledbythefamily,MamaElenamakesdecisionsforherthreedaughters—Gertrudis,Rosaura,andTita—regardlessoftheirowndesires.(Lopez-Rodriguez62)BoththenovelandthefilmbeginwithEsperanza’s(Tita’sniece)carefulreadingofaninheritedcookbookfromTita,anditbringsbackthememoryoftheGarzas.Titaisbornonthedinnertableinthekitchenin1910.SheisbroughtupbythefamilyservantNachainthekitchen,whereshelearnshertalentincooking.Astheyoungestdaughterofthefamily,TitaisdestinedtocareforMamaElenatillthelastsecondandisprohibitedtomarriage.However,inafamilydinner,youngTitametayoungman,PedroMuzquiz.Theysoonfellinlovewitheachotherandclaimedeachotherastheonlyloveinthelife.PedroproposestotheGarzas,butMamaElenaturnsitdown.Instead,PedromarriesTita’ssisterRosaurainordertobeneartoTita.WhileMamaElenakeepstormentingTita,Titaconfinesherselfinthekitchen,makingallthedeliciousandcreativedishesforthefamily.Magically,heremotionisblendedintoeverydishshemakesandhastheabilitytoinfluenceeveryonewhotastesthefoodshemakes.InEsquivel’snovel,thestoryispresentedasacookbook,sequencedwithtwelvemonths,witharecipeforeachmonth.Thetwelverecipeseachconcludeachapter,carryingspecialhistoricalandethnicimplicationswithintheingredientsandtheprocedures.Althoughthelovingwaythecamerafocusesonfoodmakescleartothefilmaudiencethatfoodisacentralcharacterinthisstory”,thefilmshiftsawayfromtheoriginalstructureofthenovelandbringsthestorylinewithoutrecipesasseparation.(Lopez-Rodriguez63)Manydetaileddishesmentionedinthenovelisonlygivenaglimpseinthefilm,orevenomitted,whiletheotheronesaredescribedcarefullywiththecameralanguage.Forinstance,theFebruaryrecipeofcapones(capons)andtheAprilrecipeofmoledeguajoloteconalmendrayajonjoli(turkeyinalmondandsesamesauce)arebothcutfromtheplot,andcaldodecolitaderes(oxtailsoup)andtortasdeNavidad(Christmasrolls)areonlyprovidedwiththesimplestdescription.TheseveralrecipesAlfonsoAraufocusesonarepastelChabeladebodas(Chabelaweddingcake),codornicesenpetalosderosa(quailinrose-petalsauce)andchilesennogada(chilipeppersinwalnutsauce).Coincidently,twoofthesethreedishesarespeciallymadeforthetwoweddingsinthefilm,andeachbringsoutadifferenteffect.Theemphasisoffoodinthefilmandtheimplicationsoftherecipeswillbeexploredlaterintheessay.Therestofthestorycontinuesinatraditionalway.Rosaurasoondeliversababy,andTitauseshervirginbreastmilktofeedher.AfterfindingoutthevaguelyunbrokenrelationshipbetweenTitaandPedro,MamaElenasendsPedroandRosauraaway,aswellasthebaby.AwayfromTita,thebabydies,andthereasonisbelievedtobethefood.TitagoesinsaneandhidesherselfinthedovecoteuntilJohnBrown,theranchdoctor,picksheruptohishouse.JohntakescareofTitaandhelpsTitatoreconstructtheconfidencetofacelife.Determinedtostartanewlife,TitaacceptsJohn’sproposal.ThemomentTitaandPedroreuniteontheranch,bothofthemknowthattheirpassionforeachotherdoesnotgoaway.ThedayJohnleavestheranchtheyhaveanaffair.Asahusband,Johnisalwayssounderstandingandtolerant.Heforgivestheadultery.Attheendofthefilm,Johndrivescarawayforbusiness.PedrotakesTitatothebarnhouse.Inthehouse,theghostofNachaappearsandlightseverycandleinthehouse.Inthesoftyellowlight,PedroandTita’slove“finallyblossom”.(Hart172)Metaphoricallyindicatedbythenarrator,“allthematchesinsidePedro’sbodylightatthesametime”,andthebrightnessbringshimtotheeternalofpeace.Titabeginstoswallowmatches,withthememoryinvolvingPedroandherflashingback.ShecatchesfirefromtheinsidemeetsPedrointhetunneltoeternityoflove.Asthescriptwrittenbytheauthorofthenovel,thefilmisabletoretaintheoriginalflavors.Thestoryiskeptasoriginal,andwiththehelpofvisuallanguage,thefilmcandowhatthewordscannotdo.ItputsimaginationintorealityonscreenaswellastransformingthestoryintoasumptuousMexicanfeast.FoodinComoaguaparachocolateAs“animportanttopicinthefieldofculturalmaterialism”,foodisableto“bringtotheforefrontthoseelementsoflifethatweretraditionallyoverlookedbecausetheybelongedtothedomesticsphereandnottothepublic,broader,malesphere.”(Lopez-Rodriguez66)Manydirectorsapplyfoodasamediumtoconveythemeanings.InAngLee’sEatDrinkManWoman,foodisamirrortoChinesecultureandideology.InLasseHallström’sChocolat,foodisagiftedcreationofmagicpotiontocurethelaggingandobstinacyofthetownresidents.InSandraNettleback’sBellaMartha,foodgivesaplaceforcommunicationandenablespeopletoknoweachother.InComoaguaparachocolate,AlfonsoArauputstonsofemphasisonfood.Foodplaysthecentralroleartisticallyandcommercially.Preparationforfoodisprovidedclose-upfeaturesinthefilm.Thescenesaretreatedwithtendernessandsequentialdetails.Lighting,musicandnarrativesaccompaniestostrengthentheemotionsimplicatedbythescenes.Morethanvisualenjoyment,therecipesalsoconnectthecharactersandthestoryline.Conclusively,theuseoffoodgenerallyservesfunctionsinfourdimensions:asatagofidentity,alanguageofcommunication,anexpressionofcreativityandfreedom,andaneyeintoMexicansocietyinrevolutionaryandcontemporaryperiod.Italsooffersaspaceforthestorytoturnintoamagicrealisticfairytale.LanguageofExpressionFoodisametaphorforemotionthroughoutthefilm.Giftedasaverysensualwoman,Titais“repeatedlyportrayedtasting,seeing,smelling,touching,andhearing.Itisonlylogicalthatshecommunicatesthroughanactivitythatcomprisesallthesenses.”(Lopez-Rodriguez68)AtthetimewhenTitaandPedrofirstlyfellinlove,Titadescribed“Pedro’sgazeonhershoulders”as“whatrawdoughmustfeelwhenitcomesincontactwithhotoil”.“Bubblesbreakoutofherbody”.ThemediumoffoodsolidifiesabstractfeelingsinTita’sworld,andTitaisabletoresorttoexpressingherfeelingsthroughthecreationofdelicacyinthelimitedareaofkitchen.Inthekitchen,foodistranslatedintoanewlanguage.Inthefilm,Tita’srecipesarealwaysrelatedtowhateverishappeningtoheratthetime.OneofthescenesisthatinwhichTitapreparesthequailsinrosepetalsauce.Rightafter“Pedrohasgivenhertherosestocongratulateheronherexcellentculinaryskillsontheanniversaryofherfirstyearasthehousecook,andsheusesthemindefianceofhermotherinthisdish.”Thecookingprocessissplitinsequentialdetails—peelingofrosepetals,bundlingthequails,grindingrosepetalsauces,andaddingadropofmysteriousseasoning—representingasanexpressionofherloveforPedro.“Thissceneisaccompaniedbylushpianomusicthathighlightstheconnectionbetweenromanceandtheculinaryprocess.”(Shaw51)Here,“cookingisTita’swayoftellinghimwhatshecannotvocalize.”(Lopez-Rodriguez69)RealizingthepossiblecommunicationbetweenPedroandherthroughfood,Titafeels“compelledtocreatemoreandmorerecipesthatwillkeepalivethelove”thatMamaElenaandRosaurahadtriedtoprohibit.(Lopez-Rodriguez69)“Itisthisneedtocreateorre-createdeliciousdishesthatmovesTitatoputinwritingalltherecipesshehasreceivedfromNacha;thatishowtheircookbookisborn.”(Lopez-Rodriguez69)TerritoryofFreedomandCreativityWecanunderstandthatthekitchenoffersTitaanareaof“unrestrictedfreedom”toescapefromMamaElena’styranny.(Shaw50)Inthekitchen,Titaisgivenafreevoicetoexpressherself,aterritorialityforcreativity.(Lopez-Rodriguez67)MamaElenatriestocontroleverythingofTita,restrictingherfrommarriageaccordingtotheoldconventionthattheyoungestdaughtershouldcareformothertilldeath.Butherpowerislimitedoutsidethekitchen.Duetothelackofculinaryexperience,shenevertellsTitawhattocookandhowtocook,socookingprovides“anoutletforthecreativityMamaElenaisalwaysrestraining.”(Lopez-Rodriguez68)SohereTitafinds“ameansofself-definitionandsurvival”.(Lopez-Rodriguez66)“TheliberationthroughfoodandcookingisnotlimitedtoTitaalone,butalsooccursforthepeoplewhoeathermeals.”(Lopez-Rodriguez68)InTita’sterritory,heremotionsevokedbypersonalexperiencearealsotransferredtoothersthroughfood.“Shefeelsandshemakesothersfeel.”(Lopez-Rodriguez69)WhenblendingtheflourandeggsformakingRosauraandPedro’sweddingcake,Titaunintentionallydropsatearintotheingredient.Itturnsoutthatduringtheweddingreception,whoeverhasabiteofthecake,isremindedofthesorrowoflostlove.InanoldSpanishloveballad,asenseofmelancholyandfrustrationfrom“loveoftheirlives”spreadsthrougheveryguestandthesceneculminatesinacollectiveofvomiting.“Uncontrollableoutburstsofpleasure,sadness”,whichisusuallyforbiddenintheranch,isletfreewiththehelpofTita’sfood.(Lopez-Rodriguez68)KitchenasAnEyeEsquivelhaspointedoutinaninterview:“thekitchen,tome,isthemostimportantpartofthehouse.Itisasourceofknowledgethatgenerateslifeandpleasure.”(Hart173)Comoaguaparachocolateoffersa“femininekitchen-eye’sviewofthoseturbulentyearsduringMexicanRevolution(1910-1917),whichis“atoddswiththemasculinityrhetoricofthehistorybookswiththeiremphasisonbattlesandthestruggleforcivicpower.”(Hart173)“Thefilm,initscontent,includingmodernization,theincreaseofsocialinequality,andthegrowthoffeminism.Thiscanbeseeninthewaythatitignoresalloftheseissuesandreinventsthepastinsuchawayastonegatesocialhistory.TheimageofMexicosoldtonationalandinternationalaudiencesthroughthefilmarefilledwithnostalgiaforamythicalpast.Inthisreinterpretationofthepast,genderrolesareclearlydelineated,classandethnictensionsareignored,andnobodygoeshungry.”(Shaw39)ThecookbookreceivedbyEsperanzaisanessentialclueinthefilm.Itconnectsdifferentracesandculturesinthefilmand“symbolizesnotonlythelovingrelationshipamongwomenbutalsothepreservationofNahuatlheritageanditsmixturewithSpanishandCeoleelements”.(Lopez-Rodriguez70)“NachaandChencha,membersofethnicminorities,havebeendeniedbythedominantwhiteupperclassthepossibilityofexpressingtheirknowledgethroughanymediumotherthantherecipestheycherish.Bypassingtherecipesontothenextgenerationtheyarenotonlyabletocommunicatesomepracticalinformationbuttopreserveelementsofanindigenousculturethatwouldotherwisebelost.”(Lopez-Rodriguez69)ConstructionofFairytaleLabeledasmagicalrealism,Comoaguaparachocolateisconsistedofnumerousfantasticscenesbeyondrealityandabunchoffairytaletraditions.Themainrolesinthefilmhavetheircounterparts,whichcanbefoundintraditionalfairytales.TheromanticheroineTitaislikeCinderella,arduousandkind,whileatthemeantimesufferingtheinequalitycausedbyawickedmother,MamaElena.Titaissotalentedasamaternalrolemodelthatsheevenknowshowtodeliverthebaby.“Boundtothekitchenfromthemomentofheremblematicbirthinthisverysameroom,TitaistreatedfirstbyhermotherandlaterbyRosauraasjustanotherservant.”(Lopez-Rodriguez67)ThesettingevenparallelswiththestoryofCinderella.JohnBrown,thefiancéofTita,isthebenevolent,carefulandtolerantdoctorthatcanbefoundinmany18thcenturyfairytalesasapositivefigurewithoutimperfection.InComoaguaparachocolate,histendancehealsTita’ssorrowforloveandhisgreatbreathofmindforgivestheadulterybetweenTitaandPedro.NachaandChenchaaretheservantswhoaresatisfiedwiththestatusofbeingruledandhavealovingrelationship.Moreover,besidesthesettingoftheroles,thestrangealchemicalreactionbroughtbyfoodandtheabruptpassionofpeoplealltellthestoryinthelanguageoffairytale.Reference:Ching,Eric,ChristinaBuckley,andAngelicaLozano-Alonso.ReframingLatinAmerica.Austin:UniversityofTexasP,2007.286-305.ComoAguaParaChocolate.Dir.AlfonsoArau.Perf.MarcoLeonardi,LumiCavazos.Videocassette.BuenaVistaHomeVideo,1992.Esquivel,Laura.Comoaguaparachocolate:noveladeentregasmensualesconrecetas,amoresyremedioscaseros.México,D.F.:EditorialPlanetaMexicana,1989.Esquivel,Laura.LikeWaterforChocolate:aNovelinMonthlyInstallments,withRecipes,Romances,andHomeRemedies.Trans.CarolChristensenandThomasChristensen.1sted.NewYork:Doubleday,1992.Halevi-Wise,Yael.quot;StorytellinginLauraEsquivelsComoaguaparachocolate.quot;TheOtherMirror:WomensNarrativeinMexico,1980-1995.Ed.KristineIbsen.Westport,Connecticut:GreenwoodP,1997.123-130.Hart,StephenM.ACompaniontoLatinAmericanFilm.Woodbridge:Tamesis,2004.171-178.Lopez-Rodriguez,Miriam.quot;CookingMexicanness:ShapingNationalIdentityinAlfonsoArausComoaguaparachocolate.quot;ReelFood.Ed.AnneL.Bower.NewYork:Routledge,2004.61-73.Segovia,MiguelA.quot;OnlyCauldronsKnowtheSecretsofTheirSoups.quot;VelvetBarrios:PopularCultureChicana/OSexualities.Ed.AliciaG.Alba.NewYork:PalgraveMacmillan,2003.163-178.Shaw,Deborah.ContemporaryCinemaofLatinAmerica:TenKeyFilms.NewYork:Continuum,2003.36-51.April6,2008