Wanda, The Most Horrific Film I’ve Ever Seen, A Review

****WRITTEN, DIRECTED, AND STARS BARBARA LODEN!*********
Music by‎: ‎Dave Mullaney (uncredited)
Distributed by‎: ‎Bardene International Films
Cinematography‎: ‎Nicholas Proferes (uncredite…
Directed by‎: ‎Barbara Loden

This movie should come with a thousand trigger warnings. It is not for the faint of heart, for the women who have been abused, or those who are prone to flashbacks concerning domestic abuse. Some say that is the beauty of the film, the ability to stir such vivid emotions, but reader, it isn’t worth it. It’s taken days for me to recover from this film and write about it. Watch at your own risk.

None of its beauty redeems the horror of the story, but it’s an important story to tell.  Loren plays Wanda and does a horrifically wonderful job acting. Everything felt so real. She evokes every emotion and makes her character so believable; her character could be Everywoman.

Wanda loses her two children and her husband because she wasn’t really cut out to be a mother. She doesn’t seem to be attached but we don’t hear her story. Was her marriage (and her children) forced upon her? When taken to court the soon-to-be-ex-husband complains “even had to change their diapers, and feed them, and put them to sleep. The children need a mother!” Motherfucker, those are your children too. It made me realize, I would have hated to live in any time but now. Thank god men are beginning to realize that children don’t solely belong to women; it is not a woman’s job to clean the baby. In a marriage it is “we” an “our” and “us” so why then, when it comes to children it is “you” “her”and  “she” ? She did try to find work, she worked at a sewing factory, but the boss said she was too slow and fired her, refusing to give her more work.

Destitute, she walks into a bar to use the lavatory and splash some water on her face. The man yells at her and I can’t understand why… until I saw that the real bartender is gagged on the floor behind the bar. She walked into the middle of a robbery. The criminal pours her a beer and gives her snacks, he looks out the window, sees too many people walking by, and decides to kidnap her, making it look like a couple was leaving a bar.

With all the money he takes her to a restaurant, where she shoves her face full of spaghetti. That should have been the end. He should have recognized that that enough was compensation for helping him escape but he doesn’t; he takes her to a hotel and fucks her.

He is vile and vulgar. She makes some sweet small talk, clutching the sheets to her chest, she sees he’s wearing a ring and asks about his wife. He barks: “I don’t like nosey people” (EVEN THOUGH LATER HE SNOOPS THROUGH HER WALLET AND ASKS HER ABOUT HER HUSBAND AND KIDS) and she apologizes and says she was just being friendly “I don’t like friendly people,” he says. She tries to brush his hair and he shakes her “DON’T TOUCH MY HEAD.” (He gets migraines but still…) This isn’t good enough. He can’t intimately fill her body with his own and then reject her; all she asks for after, is for a few kind words, and he refuses. Words cost nothing but kindness and still he is too cheap. He truly is a robber.  Continue reading “Wanda, The Most Horrific Film I’ve Ever Seen, A Review”

Latina Feminism, Modernism & Tradition in “Imitadora” by Romeo Santos

I cannot place this analysis outside myself and it deals with issues primarily rooted in my identity as a Cuban-American woman, educated three times over in language, literature, and education.  The song touches on issues of female identity, narrated by a man (a lover with desires), and language between lovers.

Imitadora, Imitation Woman, is about a lover who sings to his woman, telling her, in essence that he misses her as she once was. My inner feminist and ontologist questions this essentialized self. Who was she ever and how can you determine that she is not that way anymore? Who are you to define who she was and who she is? But the lover in me swoons. Continue reading “Latina Feminism, Modernism & Tradition in “Imitadora” by Romeo Santos”

Rape, The Backseat Story: An Apology for Juanita in “Everybody’s Son” by Thrity Umrigar

This essay is a call to reflect on the person to whom we refuse to offer apology.

In “Everybody’s Son”, Umrigar tells the story of Anton, a mixed child with amber eyes, a young boy who captivates anyone who looks at him. He is sweet, devoted, well-mannered, and as torn between two worlds as his heritage. Every chapter of the book is a new chapter of his life: we watch Anton grow from Baby Boy, to Adopted Boy, to Harvard Young Man, to Attorney General, to finally, to Anton. But this essay is for Juanita. Continue reading “Rape, The Backseat Story: An Apology for Juanita in “Everybody’s Son” by Thrity Umrigar”

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