Emma Surbrook

Professor Hopfenblatt

Film 5481

September 27th 2024

Mexico, Gender, and Revolution in Emilio Fernandez’s Enamorada

“There only exists one Mexico; the one I invented”(Berg 94). During the 1940s, Emilio

Fernandez was an acclaimed Mexican filmmaker that served to redefine Mexican Cinema. In

Berg’s essay, The Cinematic Invention of Mexico, he discusses Emilio Fernandez and the ways in

which his films were a response to the Studio Era of Mexican cinema. He describes Fernandez’s

films as “the epitome of Classical Mexican Cinema in the 1940s”(Berg 93) and notes that they

“defined Mexico on theater screens around the world”(93). During this time period, also known

as the golden age of Mexican Cinema, a number of specific stylistic techniques were used to

emphasize themes of nationality and pride, femininity and masculinity, and the Mexican

Revolution. Emilio Fernandez’s film Enamorada, follows the story of a revolutionary general

and the woman he falls in love with while occupying a small town. In Enamorada, Fernandez

utilizes a number of these techniques to portray the Revolution and explore the development of

the film’s protagonist, General José Juan. Specifically, the use of low angle shots as well as

“Figueroa’s Skies”. In Enamorada, Fernandez utilizes both of these stylistic techniques to exhibit

themes that dominated the time period including national pride, masculinity and femininity, and

the Mexican Revolution.

country and establish a feeling of Mexican culture. During this particular era, there was an

emphasis that was placed on depicting Mexican culture and establishing a feeling of respect and

love for it. This pride and respect for Mexico and its people is exhibited in Enamorada through

the specific depiction of Mexico. In the opening scenes of the film, the revolutionary army

marches into the town and immediately rounds up the elites. As the army marches, a shot reveals

a view of the sky along with the Mexican Flag, as it waves in the breeze. This shot, situated in its

place at the beginning of the film, immediately establishes a feeling of Mexican identity and

along with it Mexican pride. It also reveals the more rural location of the film, which was

common for the Studio Era. This particular shot, and the waving of the flag against the Mexican

sky, reveals much about the film, as it says that at its core it is a Mexican film and it will not shy

away from that fact. Later, after Beatriz and Padre Rafeal speak in the church, Fernandez calls

attention to the church and the distinct Mexican architecture with a similar shot of the sky. The

horizon of the shot is placed lower in the frame and it allows both the sky and the particular

architecture of the church to be on full display. This shot composition continues to emphasize a

distinct feeling of Mexican identity and culture that Fernandez wanted to emphasize.

As was commonly explored in many Mexican films of the time, Enamorada explores

femininity and masculinity and finds ways to both adhere to and subvert traditional gender roles.

The Studio Era was a period characterized by its distinct representations of masculinity and

femininity, and Enamorado is no exception. The two main leads, José Juan and Beatriz are

drawn up in a sort of struggle with one another as Juan attempts to win her affection, and this

conflict allows for a showcase of their unique masculine and feminine traits. Fernandez engages

in a number of low angle shots to illustrate José Juan’s sense of power and masculinity. In his
first scene, at 9:03, he is shot from a low angle sitting confidently as the elites are marched in.

Throughout the rest of the scene, he is consistently shot from low angles that make him appear

taller and more dominant in comparison to the rest of the characters. It can also be noted that in

these first few scenes, José Juan is always framed and positioned in a way that allows him to be

taller than his compatriots, whether it's him standing taller than the elites or quite literally

standing over Padre Rafeal, who he makes sit in a chair. These low angle shots along with

specific framing give José Juan a strong sense of masculinity, which is also highlighted in his

characterization as a revolutionary who fights for the people. On the other hand, Beatriz is a

classic Studio Era female lead. She exhibits a certain defiance of female gender roles as she’s

consistently depicted as strong willed and independent. At 32:32 when she first encounters José

Juan and he catcalls her, she immediately shouts at him and slaps him in response. The camera

here is also positioned at a lower angle, but it allows both our leads to be in the frame. While it

shows a height difference that would emphasize José Juan’s power over Beatriz, it also plays a

part in illustrating the fact that both are strong characters with rather high opinions of

themselves. This positioning emphasizes Beatriz’s character as a strong Studio Era female lead

who is independent and strong willed whilst also highlighting José Juan’s own sense of power

and masculinity.

Set during the Mexican Revolution, Enemorada depicts the revolution in a sort of romantic

light that uses the development of José Juan as a symbol for revolutionary change. The film has a

very clear opinion of the revolution and those who would oppose it. This is immediately

illustrated at the start of the film when the town’s elites are introduced. They stand upon a large

structure and are shot from a very low angle that would imply their believed authority and

importance. However, this is almost immediately contrasted with a shot of one of them on the
ground as he kneels in front of José Juan which immediately destroys any sense of authority they

might have had. This lines up with the film’s clear support of the Revolution and its distaste of

the elites who may have opposed it. Additionally, the film uses José Juan’s character arc to make

a statement about the Revolution. As was previously described, toward the beginning of the film,

Jose Juan is consistently shot from a low angle to exhibit his strength and power, which come

from both his masculinity as well as his convictions toward the revolution. But as the film goes

on, these sorts of low angles are either replaced with higher ones or used in a different way. As

he grows and comes to understand God and love for others, the shots change to reflect that. The

first of these is when he enters the church. He is shot from an extremely low angle, but it no

longer reflects his power and authority but rather emphasizes humility as it frames him as small

against the beautiful ceiling. This is a moment of change for Juan as he begins to allow himself

to see beyond his own ego. Later in the film, when Juan apologizes to Beatriz, there is a contrast

as he is shot from above. This is a sign of his changing character as he has allowed himself to

humble himself before her which is then finalized when he lets her go. He is no longer just a

revolutionary hero, but also a man who loves his people and has proven himself willing to make

real sacrifices. These changes in his character, that are reflected in the choice of angle, also

demonstrate ideas of the Revolution. His arc is a symbol for the revolution as being a cause that

was not just about using military force to gain political advantage, but as a cause for the people

that allowed for them to have freedom and choice.

Enamorada’s story of a revolutionary’s growth as he finds both love and compassion in others

and himself, is one that reflects many themes that were common in films of the Studio Era. The

film explores ideas of national pride and culture through its distinct shots of the sky that

highlight Mexican architecture. Additionally, ideas of masculinity and femininity are showcased
through José Juan and Beatriz and their relationship as illustrated through low angle shots.

Finally, the film explores the Mexican Revolution through its depiction of the elites as well as

José Juan’s character arc as he gains humility. In his films, Emilio Fernandez used various

stylistic choices to convey these various themes and during this time he was able to create an

idea of Mexico that had not existed before. He gained international acclaim and was able to show

the world what Mexican filmmaking could be. He was able to tell stories that were unique to the

country and were respectful of its people. Emilio Fernandez and the films he created showcased

Mexico not through stereotypes but through a deep love and understanding of its culture and

people.

Emma Surbrook
Professor Hopfenblatt

Film 5481

September 27th 2024

Works Cited

Berg, Charles Ramírez. “Chapter 6. The Cinematic Invention of Mexico: The Poetics and

Politics of the Fernández Unit Style.” De Gruyter, University of Texas Press, 1 Sept. 2015,

www.degruyter.com/document/doi/10.7560/302514-007/html?lang=en.