Current Forum: Session 7: Ideology, Gender and Sex	Read 10 times 	
Date: 26-Feb-2001 22:53:50	
Author: THOMPSON, GREGORY J. <gjthomps@garnet.acns.fsu.edu>	
Subject: Strawberry and Chocolate 	
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       There are a couple of random quick thoughts that come to mind that I would like to throw out and then move on to a slightly more organized discussion. One of the most interesting aspects of Strawberry and Chocolate (Tomás Gutiérrez Alea and Juan Carlos Tabío, 1993) is the amount and variation of religious references in the film. This goes everywhere from Catholicism to various forms of superstition, tarot card reading and other forms of "mystic" divining. Historically, of course, Roman Catholicism has been the dominant religion in Cuba and it remains so, with around 40% of Cubans at least nominally Catholic. A small percentage of the population are Protestant and a smaller percentage are Afro-American Spiritist or devotees of Santería. The loose institutional organization of Santería's adherents hides the fact that a majority of Cubans are affiliated with this Afro-Catholic religious fusion in one way or another, and their numbers have grown since the government ended its official atheism in 1992. 
       Nancy's devotion to various forms of "superstitious" religions (Santería) and Catholicism would be in keeping with this pastiche of religious practices in Cuban culture. We are constantly 
brought back to this as both the characters, of Diego and Nancy talk to their respective Madonnas. This conversation with the Madonna has the effect of, at times, of keeping the audience off balance, as we are not able to always see the object of the conversation. As I said, certainly in Cuba the combination of Catholicism and Santería is not unusual, but to most American audiences this relationship would appear unusual. Even more unusual would be the lack of religious disdain for the homosexual life. In fact Diego is one who is using religion to convey his messages rather than the usual battle between religion and sexuality that the U.S. is accustomed to seeing.
       It would seem at first that what is acceptable and what is "deviant," would of course take on an entirely different meaning in the communistic Cuban society. In reality it is not hard to imagine much the same types of persecutions and disdain for homosexuals in ultra conservative democratic ideology. It is interesting that this film seems to be part of genre of films in which homosexual and heterosexual characters must, through (often but not always) platonic friendship learn to get along under adverse conditions. Ultimately in this "genre" the two either 
come to an agreement that results in a compromise of the desire between the two or the defeat of an ultra conservative position. I am thinking of Kiss of the Spider Woman (Hector Babenco, 1985) and The Bird Cage (Mike Nichols, 1996). I'm confident others could be listed. 
       In this particular instance, Strawberry and Chocolate, the homosexuality of the character does not seem to have as much effect on bringing about the reformation of the ultra conservative areas of society as it might in other films that follow this type of genre. Interestingly the homosexuality does seem to be tied tightly to the ability to be a part of a counterculture. What is it about the homosexual character that allows for greater appreciation of the arts, literature and, therefore, humanity. 
       With regard to the male body versus female body set up, it seems clear that in S & C although one of the two major characters is a gay male, it is the female body that is overvalued for the gaze of the audience. Although there are moments where David has his shirt off, the most recurring moments of genitalia are of women. As Kyle points out the moment where we first see the "peeping tom" David spies on the couple next door but it is primarily the busty woman that we see. Shortly after, in the hotel room, his fiancée is nude and we see a POV of 
him looking at her naked back. Much later in the film there are two instances of Nancy nude including bare back, breasts and buttocks. The point is that although there is the POV moment of Diego's longing for David, there is no other overvaluation of the male body in the film.
       Is it possible that although the subject matter contained homosexuality, that the images of the male body and the depiction of the homosexual act was more than the Cuban culture (read 
censors) could endure? This would seem to make sense in light of the enormous impact of the final "hug" at the end. Up to that point the males had been distant from each other, not touching 
and keeping up a pretense of machismo. 
       Finally I think Kathryn makes a valid point when she states that the dichotomies seem to be directly out of Hollywood. Interesting that these images should serve as the model in a "foreign" film. Once again it would seem that the power of American film as export has helped to create the standard models by which others feel compelled to follow.