Anne: I feel like this movie sacrifices three big scenes that would have made it more viscerally satisfying to me, while at the same time making it feel cliched.
When she and Jimmy get intimate and he accepts her for “what I look like”, Ana then drops her self-loathing or at least stops hearing what her mother tells her.
The Protagonist sacrifices some part of her past to move into the future. The ending scene says it all that when she is strutting in NYC a confidence women ready to take on the world! Her mother also complains that she is “too fat” and should help her family. Ana asks her mother why a young woman’s virginity is all that matters. Also, this is a mini-plot, so we’re not anticipating epic change in the protagonist. Valerie: Surprising but inevitable ending: The ending of Real Women Have Curves is neither surprising nor inevitable. Contrast this with Akeelah and the Bee where the audience is hoping and praying the mother will come around. The filmmakers didn’t pay off the red dress and college essay. Ana has reconnected with the women at the factory, her father, grandfather, and cousins.
She recognizes that they will both meet people while in college. It's a good start--a group of women working under pressure from without as well as from one another. Is a marked difference in class or education important?
That whole resolution was not that great. I expected to learn something about what was in the miraculous college essay that got her a full free ride to the Ivy League.
: The Protagonist decides to trust herself and pursue her dream no matter what. I can only imagine what Carmen would have thought about her daughter wearing a sexy dress like that.
Ana starts out very weak—she’s belligerent, passive, and resentful. Secret World: The Protagonist creates a secret world or existence where her dream can grow—outside the scrutiny of the dependent world. (Although we don’t actually see Ana telling her mother, or Carmen’s reaction; another missing scene.). Something to think about.
Success, to him, is about keeping the definition realistic to avoid selling out.
Josefina Lopez, Carmen thinks she sees I.C.E. Ana’s mother defines family responsibility liberally, and believes that this is more important than personal dreams/purpose (of course she would, otherwise she might conclude that she wasted her life or was less than for not having different ambitions—which is not the case, but we don’t always see our own lives clearly). What led you to decide this was not a Society/Domestic secondary genre? Are you lost on how to tackle this project? When she and Jimmy get intimate and he accepts her for “what I look like”, Ana then drops her self-loathing or at least stops hearing what her mother tells her.
Narrative Device: This is a straightforward, linear story, very simply told. Her employees--including her mother, Carmen (Martha A. del Rio), and younger sister Ana (Justina Machado)--pull together to finish the order by the end of the week, working in secret with the doors and windows of the sweltering factory closed tight, fearing a raid from immigration authorities. Carmen: Wouldn’t it be funny if the migra came and instead of taking the employees like they usually do, they take the patrona. Her mother and father refuse permission again. Ana needs to respect her family first, and respect herself, before she can earn her father’s full support.
Maybe that was by design since the rest of the story is all Ana, all the time. Surprising but inevitable ending: The ending of.
Ana insults the woman who pays Estela for the dresses. Ana challenges her mother’s values and owns her own by stripping down to her undergarments in the heat in the factory. At the end, we see Ana walking confidently in NYC. According to Norman Friedman, Status Sentimental protagonists don’t change a great deal, but remain steadfast and are acted upon as opposed to acting. The Status genre is the internal genre here, and we concluded the global genre for the story.
When a weak protagonist succeeds against the odds, we’re in the Sentimental subgenre.
What constitutes a mentor?
The filmmakers have planted expectations in our minds especially wrt the red dress and college essay. In a show of racial unity, Latinx artists across Chicago have spent the summer contributing their talents to the Black Lives Matter protests of 2020.
It also makes the point both verbally and visually, that “Real Women” like them, “have curves.” That’s a pretty great way to sum the whole movie up. But part of me doesn't, because my weight says to everybody, 'Fuck you!'
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Her mother and father refuse permission again. I’d say the primary drive is a modest suspense–will she or won’t she convince her parents to let her go to college in New York? The filmmakers didn’t pay off the red dress and college essay. Ana’s teacher, Mr. Guzman, thinks Ana should pursue her dreams; it would be a waste for her not to. It’s hard to become emotionally engaged in this situation. I think the problem I have with the film, and why it doesn’t feel very satisfying to me, is that the value shift goes from compromise to success. If so, what did she say – especially about her manipulative mother?
Ultimately, she needs to let go of her desire to win her mother’s respect, because their worldviews are too different. – When offered a scholarship for college, Ana must again decide whether she’ll attend, or whether she’ll continue to help her family by working at the factory. | Performing Arts Review. She pursues her dream, but her challenge is that she sets her sights low, believing she can’t ask for fair pay for the excellent work she and her employees do.
Obviously they don’t articulate it that way, but they’ll feel it and could become ambivalent towards the story. Ana’s mother leaves because she can’t take this experience on board. Ana tells her English teacher, Mr. Guzman, she’s not going to college and that he should help someone else.
But later she follows Ana's advice to stand up to her husband, thanking Ana the next day with a kiss and a hug. They dance as they finish the dress order. There’s a theory in storytelling circles called Chekov’s Gun. It's meant to be a celebration of real women's bodies--the dresses they've been working on are designed for size-five models--but there doesn't seem to be any real pride here, just a lot of complaining.
I’m not sure about that. Upgrade to PRO to learn more about this scene from Real Women Have Curves and unlock other amazing theatre resources! Anne: When Mr Guzman comes to Ana’s birthday party, I was struck by how very similar the scene was to the one in Billy Elliot where Mrs Wilkinson, Billy’s dance instructor, comes to Billy’s house.
: Members of the community realize they are better off for the Protagonist’s expressing her gifts.
Ana works on her personal essay and takes it to Mr. Guzman, but she also starts seeing Jimmy as she continues to work at her sister’s dress factory. Every dollar you give helps us continue to explore and report on the diverse happenings of our city. Rights and availability This title can be licensed and sold throughout the World
Whenever a writer/filmmaker sets the audience up to expect certain scenes, then those scenes are, by default, obligatory.
It’s also the female executive that Estela asks for an advance but tells her she won’t get one and “took a chance on someone like you.” The stronger one is Estela since she got sucked into the family business and had dreams of a better life. The VP and HJ are similar, as Hudson explains, they are two halves of the same relationship with the self: self-fulfillment and self-sacrifice. This week we stitch up the Status genre with 2002’s Real Women Have Curves, written by Josefina Lopez and George LaVoo, and directed by Patricia Cardoso.
Yes, standing up to one’s mother is challenging, but why does Carmen have such sway over the entire family? Ana’s mother stays in her room and won’t speak to Ana (Ana is effectively banished from her mother’s presence), but she leaves for college anyway. What we՚re watching and thinking about heading into Halloween and the election. It’s a subtle shift, but marks the first time Ana openly disobeys her mother.
Ana wants respect from her family, especially her mother, for her mind and ideas.
If so, what did she say – especially about her manipulative mother?
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Mom thinks she’s pregnant. The Beverly Hillbillies
Mini-plots are focused on the internal and sometimes called slice of life stories with a very specific character and setting. The Status genre is a powerful one for “not falling into the same old groove.”. Join StageAgent today and unlock amazing theatre resources and opportunities. Protagonist Chooses the Light: The Protagonist decides to trust herself and pursue her dream no matter what. An art party of women artists opens at Heaven Gallery. The women in the factory also have different positions on what success means. I’m coupling these two elements because they play off one another here. In fact it’s obvious from the get-go. Jarie: This movie has a great premise that lots of different immigrant groups can relate to. Valerie: Further to Anne’s point: I wouldn’t call the missing scenes cliche, I’d call them pay-offs. The Protagonist is dependent on others and suppresses—or isn’t yet aware of—her true self.
This lends a touch of dramatic irony, thought that’s not the primary narrative drive.
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