Synopsis:
Three generations of women named Lucia reflect Cuba’s history: in 1895, during the Cuban War of Independence from Spain, upper-class Lucia (Raquel Revuelta) falls in love with a deceptive soldier (Eduardo Moure) who puts her guerrilla-fighting brother in harm’s way; in 1932, middle-class Lucia (Eslinda Núñez) falls in love with a Machado dissident (Ramón Brito) and becomes politically active herself; and in the 1960s, working-class Lucia (Adela Legrá) meets her husband-to-be (Adolfo Llauradó) at a farming compound, but is distressed to learn that he is heavily patriarchal, abusive, and jealous.

Genres, Themes, Actors, and Directors:

• Cuban Films
• Feminism and Women’s Issues
• Historical Drama
• Revolutionaries
• Strong Females

Response to Peary’s Review:
As Peary writes, “Humberto Solás directed this monumental three-part epic about three women, each named Lucia, who lived during three pivotal times of modern Cuban history,” featuring episodes “filmed in wildly divergent styles” which “show how the political consciousness of these politically naive women is raised as the result of jolting personal experiences.” Each Lucia in the film comes “to realize that the same betrayers, opportunists, and oppressors (ranging from friends, lovers, and husbands to imperialists and uncommitted revolutionaries) who damage them as individuals are also undermining the progressive political movement in Cuba.”

Indeed, this is far from light fare: feminist themes and concerns are front and center, and none of these women has an easy time of it.

SPOILERS AHEAD

In the first episode, “Lucia is an aristocratic Cuban spinster (Raquel Revuelta) who becomes the lover of a married Spanish stranger (Eduardo Moore)” only to find out he is “using her to find the whereabouts of a mountain plantation where her brother and other revolutionaries are hiding.” He notes that this episode — which is “almost operatic in style”:

… is “the most visually impressive of the three episodes,” and “contains two astonishing sequences: several nuns being raped on a battlefield; [and] naked Mambi soldiers on horseback chasing and killing terrified Spanish soldiers.”

The second episode shows what happens when a “new regime turns out to be equally corrupt and oppressive” as the one taken down. Peary notes that “of the three episodes, this is the most politically provocative” — and “this Lucia is by far the most appealing” (meaning, traditionally beautiful).

The third episode brings us to (then) current times, “when Castro’s regime [was] attempting to set up a revolutionary society where men and women work and everyone is literate.” Ultimately, Peary argues that this “silly, comedic episode is like a sex battle in a Lina Wertmuller film,” with the “issues brought up… by today’s standards very simplistic” — but I don’t agree. There’s a huge discrepancy between the jaunty score running through this episode and the blatant violence we see happening on screen.

There is really nothing “silly” or “comedic” about it except perhaps what Solás felt obliged to include as a way to make it past censors. To that end, it’s astonishing to know that Solás (who was closeted gay) was only 26 years old when he made this impressively scoped film, which remains well worth a look by film fanatics interested in the evolution of international cinema.

Notable Performances, Qualities, and Moments:

• Jorge Herrera’s cinematography
  
  
  

Must See?
Yes, for its historical relevance in Cuban cinema.

Categories

• Foreign Gem
• Historically Relevant

(Listed in 1001 Movies You Must See Before You Die)

Links:

• IMDb entry
• Trailers From Hell Review
• NY Times Original Review
• Village Voice Review