This is the twenty-second film I have watched in "My Letterboxd Season Challenge 2020-21", "A 33 week long challenge where the goal each week is to watch a previously unseen feature length film from a specified category." This is the 6th annual challenge, and my second time participating (last year can be found at "My Letterboxd Season Challenge 2019-20"). Week 22 is called the "Golden Age of Mexican Cinema Week".
From The Austrian Film Museum:
"Beginning in the early 1930s and continuing for a quarter-century, Mexico was home to one of the world’s most colorful and diverse film cultures: not many other countries could claim a comparable range of production, diversity of genres and number of master filmmakers. The excellence of Mexican cinema was founded on its commercial strength – Mexico supplied all of the Spanish-speaking markets in Central and South America, and delivered several box-office successes in the United States as well. During the thirties, the country also became an important refuge for European exiles. Numerous filmmakers and craftsmen had their own (usually semi-secret) Mexican Period, and German-born Alfredo B. Crevenna became Mexico’s most prolific director. In the 1940s, few other film cultures were quite as potent."
Another win for the Challenge. I had only seen one film in either of the suggested links (Los Olvidados), and in fact have been remiss in watching Mexican films in general (my favorite being Y Tu Mamá También from Alfonso Cuarón).
Redes has a complicated history, and is perhaps better called an international picture than simply a Mexican film. On the one hand, the film was commissioned by the left-wing Mexican government. There was Mexican co-director Emilio Gómez Muriel ... he went on to direct close to 80 movies, but Redes was his first. Redes was filmed at a small fishing town in Mexico, using a mostly non-professional cast. The score by Silvestre Revueltas, his first, is considered to be a great success, although I confess I found it overbearing at times. On the other hand, the film began as an idea from left-wing photographer Paul Strand, who was from Brooklyn. Fred Zinnemann, an Austrian who had moved to New York, was brought in to co-direct, although he didn't speak Spanish so Gómez Muriel worked with the actors. Strand and Zinnemann cited influences like Eisenstein and Flaherty, and Redes is often compared to Italian neorealism, which hadn't happened yet. So Redes is unmistakably Mexican, but with influences from many places.
Redes tells the story of fishermen who are exploited by the rich, and it's clear what side the film is on. It never looks amateurish ... there is a lot of talent behind the camera, and the non-professional actors are mostly appealingly natural. It's a small picture, to be sure, but its ambitions are large.