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Cabeza De Vaca Movie Essay Review

+ All Cabeza De Vaca Essays:

  • Role of the City in Poe’s Murders in the Rue Morgue and Hoffmann’s Mademoiselle de Scudery
  • The Lone Star Nation
  • The Massacre at the Plaza de a Tres Culturas Tlatetolco
  • How Did Caudillos Juan Manuel de Rosas and Porfirio Diaz, Maintain Political Power?
  • The Necklace by Guy de Maupassant
  • Beauty and the Beast by Mme Le Prince de Beaumont
  • This is a chemistry lab report on an Acid-Base Titration experiment.
  • Tour de France Drug Abuse
  • De Beers "A Diamond Is Forever" Campaign
  • Cinco de Mayo: Victory of the Mexican Army over France
  • De Thi Thu Thpt Quoc Gia Mon Tieng Anh Truong Thpt Chuyen Luong Van Chanh Lan 1
  • ¿Qué es la evolución?
  • Research on the Relationship Between Intellectual Capital and Company Performance
  • Coast4Life
  • Symbolism in Jeanne Marie LePrince de Beaumont’s Beauty and the Beast
  • La Farce de Maitre Pathelin- the character of Guillemette
  • The Evolution of La Virgen de Guadalupe in Chicano Art
  • How Similar Were the Dictatorships of Primo de Rivera and Franco?
  • The Role of Photography on Psyche and Behavior
  • Seis Decisiones Que Tu Gente de It No Debe Hacer.
  • Clinicas de Salud del Pueblo Wellness Program
  • ‘Discuss Ana María Matute’s Use of Childrens’ Perspective to Comment on the Adult World’
  • Ignatius de Loyola
  • Una verdad incomoda por Al Gore
  • The Old Gringo, by Carlos Fuen
  • Proyecto Bar
  • De Beers Case Study - Monopoly
  • Enlightened Philosophers (John Locke, Baron de Montesquieu, Voltaire, and Jean Jacques Rousseau)
  • Análisis multimodal de la caricatura política. Reconstrucción de la imagen del expresidente Álvaro Uribe Vélez
  • Love, Betrayal, Hubris, and Relationships in Cyrano de Bergerac
  • The Political Performance of Motherhood: Las Madres de Plaza de Mayo
  • The Marquis De Sades Attitude Towards Women
  • Jose Ignacio Lopez de Arriortua Case
  • Two Great Short Stories Read by Many are A Rose for Emily by William Faulkner and The Necklace by Guy De Maupassan
  • Venus De Willendorf Vs. Barbie
  • Willem de Kooning
  • ¿Hasta qué punto las conjeturas sobre los atentados del 11 de septiembre de explican que este hecho fue un auto atentado?
  • Comparison of Federico García Lorca's Poems, Romance de la Pena Negra and La Aurora
  • Henri de Toulouse-Lautrec
  • El Concepto y Formación del Término 'Hispano'
  • Comparing Dangerous Liaisons by Choderlos de Laclos and Cruel Intentions the Movie
  • Catherine de Medici and Obsession Over Power
  • The Second Sex by Simone de Beauvoir
  • The Life of Juan Ponce de Leon
  • Technology: Revolution or De-evolution
  • A feminist reading of Doris Lessing’s ‘To Room Nineteen’ and ‘Strange Case of Dr. Jekyll and Mr. Hyde’ by Robert Louis Stevenson using ideas discussed in ‘The Second Sex’ by Simone de Beauvoir
  • Résumé Le but de Goldratt
  • A Controversial Painter of Post-Renaissance, Michelangelo Merisi de Caravaggio
  • Romeo Dallaire, “Cri de coeur”
  • False Identities in The Necklace, Guy de Maupassant and Miss Brill, by Katherine Mansfield
  • Narrativa: El climax
  • Formal Analysis of Woman and Bicycle by Willem de Kooning
  • ¿Cómo Motivar Al Personal de Cocina Del Blue Gardenia?
  • All Over by Guy De Maupassant
  • The Profound Ideas of Honore de Balzac's Pere Goriot
  • Los Vinos de La Rioja
  • Comparing Alice's Adventures in Wonderland, by Lewis Carroll and Don Quixote, by Miguel de Cervantes
  • Onda de Mar
  • Compare and Contrast Captivity Narratives
  • The Mayan Languages of Guatemala and Mexico
  • Traumatic Brain Injury
  • The Two Waves of Globalization: Industrial Revelution and De-Industrialization
  • Laboratorio de Analisis Argentina
  • Farmacoseguridad: Causas primarias de seguridad
  • Demanding Obedience to Show Who's in Control: Angie Chau's Quiet as They Come and Guy De Maupassant's The Olve Grove
  • Chanson de Roland Commentary
  • Le Management Interculturel de Sylvie Chevrier
  • The United States' Role in Causing the Nicaraguan Revolution
  • Irish Mythology in The Mystery of the Tuatha De Danann
  • Historia de Puerto Rico: Cristóbal Colón
  • Dia de Los Muertos
  • Los subsidios en las finanzas públicas de países subdesarrollados
  • Women in Ywain by Chrétien de Troyes
  • Narco Corridos the History Behind the Glorified Narcos
  • Flogging a Dead Cow Can Be Profitable in Argentina
  • Pierre de Coubertin and The Modern Olympic Movement
  • Tinker v. Des Moines Independent Community School District

What Cabeza de Vaca at this point cannot fully comprehend is that, instead of being held for some unknown dire fate, he is being indoctrinated into the tribe. One day the shaman draws in the sand the picture of a young Indian and then takes his spear and pokes out one of the Indian's eyes; at that very moment the Indian depicted by the shaman mysteriously experiences the spearing of one of his eyes.

Cabeza de Vaca discovers, to his complete and understandable astonishment, that this terrifying, seemingly supernatural act is a demonstration of the power of the shaman, who then restores the Indian's sight. Cabeza de Vaca, in participating in this ritual, then develops seemingly magical healing powers of his own.

Echeverria evokes that same sense of loss of supernatural powers on the part of Europeans that Peter Weir does in his landmark "Last Wave," which depicts a group of aboriginals remaining so close to nature that the line between what is considered natural and the supernatural comes to seem artificial.

Backed by a formidable cameraman in Guillermo Navarro, Echeverria is a gloriously visual storyteller with a grand, authoritative style that sustains easily a series of impassioned and theatrical soliloquies on the part of Diego, a thin, intense actor with a strong Gilbert Roland profile. The entire film unfolds against limitless vistas of unspoiled nature.

In the course of eight years as an itinerant healer, Cabeza de Vaca became the first European to walk across America to the Pacific coast of Mexico. When he at last comes into contact once again with a Spanish expedition "Cabeza de Vaca" (rated R for bloodshed and nudity) proceeds swiftly to its stark climax with the inevitability of classic tragedy.

'Cabeza de Vaca'

Juan Diego: Alvar Nunez Cabeza de Vaca

Roberto Cobo: The Shaman

Roberto Sosa: Cascabel/Araino

Jose Flores: Malacosa

A Concorde Pictures release of a Producciones Iguana. Director Nicolas Echeverria. Producers Rafael Cruz, Jorge Sanchez, Julio Solorzano Foppa, Bertha Navarro. Executive producer Navarro. Screenplay by Guillermo Sheridan, Echeverria; inspired by the book "Naufragios" by Alvar Nunez Cabeza de Vaca. Cinematographer Guillermo Navarro. Editor Rafael Castanado. Costumes/set design Tolita Figueroa. Music Mario Lavista. Art director Jose Luis Aguilar. In Spanish and American Indian dialects, with English subtitles. Running time: 1 hour, 53 minutes.

MPAA-rated R (for bloodshed and nudity).

Nicolas Echeverria's "Cabeza de Vaca" (at the Goldwyn Pavilion) is a bold, stunning feat of the imagination that transports us to another world. It is "Dances With Wolves" told without a trace of sentimentality or contrivance--and with a wondrous mysticism.

If Echeverria is a more ambitious and uncompromising filmmaker than Kevin Costner, he is also more demanding. "Cabeza de Vaca" is frankly more often grueling than entertaining in the usual sense of the word, yet casts a potent spell if you're willing to submit to it. It is the kind of film that's well worth the effort, yielding fresh meanings with each viewing.

Inspired by the writings of Alvar Nunez Cabeza de Vaca, treasurer of an ill-fated Spanish voyage of exploration, it begins in as Cabeza de Vaca (Juan Diego) becomes one of a handful of survivors shipwrecked off the coast of Florida. Enslaved by the enigmatic shaman (Roberto Cobo) of a local tribe of American Indians, he is expected to care for the shaman's sidekick, a short, tubby man (Jose Flores, a gifted natural actor) with no arms, foreshortened legs and a crazed sense of humor.

Echeverria allows us to experience Cabeza de Vaca's nightmarish sense of dislocation; we sense, as does he, that he could lose his life in a moment of caprice on the part of his captors. Time, however, seems to be on his side, as he gradually adjusts to the routines and rhythms of his new, and to him, bizarre and barbaric way of life.

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