[ ดูREVIEWทั้งหมด ]


El Norte (1983)(2แผ่น)



Directer: Gregory Nava

Writter: Gregory Nava (story), Anna Thomas

Running time: 141 min

Country: USA | UK

Language: Spanish | Maya | English
Genre: Adventure | Drama | Thriller

Subtitle: English
Starring: Zaide Silvia Gutiérrez, David Villalpando

and Ernesto Gómez Cruz  

ควรค่าน่าดูตรงที่ เข้าชิงออสการ์บทภาพยนตร์ยอดเยี่ยม




Mayan Indian peasants, tired of being thought of as nothing more than "brazos fuertes" ("strong arms", i.e., manual laborers) and organizing in an effort to improve their lot in life, are discovered by the Guatemalan army. After the army destroys their village and family, a brother and sister, teenagers who just barely escaped the massacre, decide they must flee to "El Norte" ("the North", i.e., the USA). After receiving clandestine help from friends and humorous advice from a veteran immigrant on strategies for traveling through Mexico, they make their way by truck, bus and other means to Los Angeles, where they try to make a new life as young, uneducated, and illegal immigrants.

Special Features:
* New, restored high-definition digital transfer supervised and approved by director Gregory Nava
* New audio commentary featuring Nava
* In the Service of the Shadows: The Making of El Norte: a new video program featuring interviews with Nava, producer and co-writer Anna Thomas, actors Zaide Silvia Gutiérrez and David Villalpando, and set designer David Wasco
* The Journal of Diego Rodriguez Silva, Navas 1972 award-winning student film
* Gallery of Chiapas location-scouting photographs
* Theatrical trailer
* New and improved English subtitle translation


 Brother and sister Enrique and Rosa flee persecution at home in Guatemala and journey north, through Mexico and on to the United States, with the dream of starting a new life. Its a story that happens every day, but until Gregory Navas groundbreaking El Norte (The North), the personal travails of immigrants crossing the border to America had never been shown in the movies with such urgent humanism. A work of social realism imbued with dreamlike imagery, El Norte is a lovingly rendered, heartbreaking story of hope and survival, which critic Roger Ebert called a Grapes of Wrath for our time.


When Gregory Navas El Norte was first released, Variety described it as the first independent American epic, and I cant think of a better description of this deeply moving film that is simultaneously entrancing, horrifying, sad, and profoundly humane. The story of two young Guatemalans who escape the bloodshed of the civil war ravaging their homeland and trek hundreds of miles to the United States--the El Norte of the title--is a story that is so pertinent to the here and now, so fundamental in its humanity, that it seems almost surprising that the film was made more than 25 years ago. If universality is one of the chief criteria of great art, then El Norte is a film that will persist for ages to come.

The story is neatly divided into three chapters. The first chapter opens in a small, rural village in the Mayan highlands of Guatemala, where we are introduced to the Xuncax family. First-time director Gregory Nava, who also cowrote the script with his producer wife Anna Thomas, establishes both the beauty and the hardships of the land, alternating magical shots of misty green mountains with close-ups of the battered and worn feet of Indian peasants who pick coffee beans all day and live in constant fear of the military. Those fears are realized when a small group of peasants attempts to organize and are brutally slaughtered for the efforts, which leaves Rosa (Zaide Silvia Gutiérrez) and her brother Enrique (David Villalpando) without a family (their father is decapitated and their mother is taken away by soldiers). With some money given to them by their godmother, who has fed them for years on fantasies about what life is like in El Norte (even the poorest people have toilets, she exclaims), Enrique and Rosa begin the long journey to what they hope will be some form of salvation.

The films second chapter focuses on Enrique and Rosas passage northward--the promised land, as it were--which is beset with hardships and challenges. Stealing rides on the back of trucks, they makes their way to northern Mexico and eventually to Tijuana, where they must enlist the services of a coyote, someone who is paid to help people cross the border illegally. Of course, as the name suggests, such men are not always trustworthy, and the film generates a great deal of tension as the naïve brother and sister put their trust in those who may not deserve it. They eventually find their way across, although it requires them to crawl through miles of abandoned sewer pipe in a harrowing sequence that is horrifying in its details but also transcendent in the way it underscores their determination to survive.

Once they cross the border, the film moves into its third chapter, where Enrique and Rosa struggle to make a life for themselves in a country that promises the fulfillment of dreams, but also imposes harsh barriers against those who would fight the hardest for it. Rosas first job in a laundry ends with a raid, after which she joins an older and more experienced woman cleaning houses in Beverly Hills. Meanwhile, Enrique lucks into a job working as a busboy in a fancy restaurant. However, their stability is always tenuous because at any moment they might be discovered and deported, which tinges even their happiest moments with an air of melancholy.

The epic nature of El Norte is not just the scope of the film, spanning geographically from Guatemala to Los Angeles, all of which is gorgeously shot by cinematographer James Glennon (who has gone on to collaborate regularly with Alexander Payne), but also its emotional terrain, which covers everything from abject tragedy to genuine elation. The films beauty lies in the way it embraces Rosa and Enriques experiences through their eyes; unlike so many American films that deal with various foreign others, there is no white intermediary acting as a filer. Thus, Enrique and Rosa are allowed to be fully fleshed-out human beings, rather than symbols of the immigrant experience, even as their travails speak lucidly to the experiences of millions of others just like them.

Zaide Silvia Gutiérrez and David Villalpando, both of whom were experienced stage actors with little or no film experience, bring to their characters a genuine sense of humanity without turning them into saints or victims. Nava avoids condescending liberal guilt by emphasizing above all else his characters simple need to survive. They are not trying to be heroes or martyrs, although by the end of the film it is tempting to see them as both. While El Norte touches on important political issues involving immigration and border patrol--which are perhaps even more pressing now than they were during the Regan era--it puts its humanity ahead of its politics, essentially reminding us that such issues matter because they have a human face.

James Kendrick, QNetwork


Awards:Nominated for Oscar. Another 2 wins & 1 nomination

Academy Awards, USA
Year Result Award Category/Recipient(s)
1985 Nominated Oscar Best Writing, Screenplay Written Directly for the Screen
Gregory Nava 
Anna Thomas 
Montréal World Film Festival
Year Result Award Category/Recipient(s)
1984 Won Grand Prix des Amériques Gregory Nava 
National Film Preservation Board, USA
Year Result Award Category/Recipient(s)
1995 Won National Film Registry  
Writers Guild of America, USA
Year Result Award Category/Recipient(s)
1985 Nominated WGA Award (Screen) Best Screenplay Written Directly for the Screen
Gregory Nava 
Anna Thomas 



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ภาพยนตร์เรื่องนี้อยู่ในประเภท: classic: recommend

หนัง classicเรื่องอื่นๆที่น่าสนใจ..ลองเข้าไปดูซิครับ