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Discuss the importance of carnival in Fernando Truebas Belle poque

Set in 1931, between the fall of the monarchy and the declaration of Spain as a Republic,
Fernando Truebas award winning period film, Belle Epoque succeeds in bringing forth an air of
fantasy while simultaneously destabilizing traditional societal roles be it, class, family or gender
through the element of Carnival which is omnipresent throughout the film. This subversion of roles,
namely gender roles, however, can be looked at from two different perspectives. Often praised as an
anti-machismo film because of its unusual use of the female gaze and the inversion of gender roles,
(especially in the carnival scene) it can also be argued that this interpretation is one dimensional and
can portray the opposite upon further analysis, thereby reinforcing the patriarchal ideals. Trueba
himself states that "Belle epoque is the story of Paradise: too good to last. He paints a picture of a
utopian world where the usual machismo mentality is almost non-existent, however we see that
even that concept is too good to last. According to Jose Colmeiro, This confusion of gender roles
and the series of gender-bending reversals is one of the highmarks of the film, best exemplified in
the superb carnival sequence with Violeta dressed in army uniform and Fernando dressed in drag as
a maid. (Colmeiro, 1997: 135) The chronological placement of the carnival scene in the middle of
the film also emphasizes its centrality and significance to Truebas piece. This scene is the films
zenith with regards to gender role subversion and makes it evident that, Trueba is making a
commentary on traditional gender roles. However, although there seems to be revolutionary role
reversals on the surface of this scene, upon further examination, one may decipher certain instances
in which the machismo dominant qualities of Spain shine through.
The purpose of this essay is to discuss the importance of the carnival element to
Truebas masterpiece. However, before discussing the significance of carnival to this film, we must
first define carnival itself, which can be defined in two ways. As stated, once again by Colmeiro,
carnival is the celebration of an upside down social order; which allows the latent sides of human
nature to reveal and express themselves (Colmeiro, 1997:135) On the other hand, Colmeiro also
reminds us of the short-lived nature of carnival, carnival is by definition a time of exception, again a
parenthetical time frame with the assurance of the eventual return to normality and the
reimposition of the order temporarily transgressed" From this point of view, one can determine that
just as the carnival must revert to normalcy so too must these roles that have been subverted. This
detracts from the anti-machismo element as it emphasizes that strong dominant women are not
indeed normal. However, this definition highlights the idea of the short lived Paradise which Trueba
claims to have portrayed.
With regards to the first definition of carnival, it is true that gender as well as
class roles are inverted in the Carlist fiesta scene to disprove the myth of traditional roles. According
to Mikhail Bakhtin, Carnival in early Europe, functioned as a form of satire as well as to mock
authority and social norms and beliefs, it marked the suspension of all hierarchical rank, privileges,
norms, and prohibitions. Carnival was the true feast of time Carnival allows everyone the
opportunity to be what they are not for a short period of time. This scene portrays several reversals
of these roles. Each character was portrayed as the opposite of their personalities with the most
striking being that of Violeta dressed as a virile soldier and Fernando who appeared as a subservient
and docile maid. Fernando ceded his power as a male figure when he allowed the four the daughters
to choose his outfit and put makeup on. Although he did not have a problem with it initially, it is
evident that he did not appreciate the attention during his tango. Although this concept of carnival
transformed Fernando into a weaker person, it allowed Violeta to fully be herself in public as
although these were the most liberal times before present day Spain, a woman would not be seen in
public dressed fully in menswear. The carnival scene is the first in which we are able to contextualize
Violetas boyish preferences whereas before we noticed her androgynous choices as compared to
her feminine sisters, the carnival is the first scene to elucidate Violetas sexuality to the audience.
Further emphasizing this switch in gender roles is the tango, highly symbolic
of male dominance and control, in which Violeta plays the part of the man effortlessly and
convincingly and exerts her force in guiding the submissive maid through the dance. In an allusion to
the fairytale, Cinderella, Violeta again exercises her manly prowess when she aids Fernando in
regaining his lost shoe and again in the aggressive initiation of intercourse.
Upon further observation, however, one can determine that it is not the male
image that is the focus of the female gaze in this scene but the image of a submissive female servant
to that of a commanding soldier. Agnes Moncy affirms that both costumes, that is military man and
maidemphasize greatly the contrast between an assertive, dominant male and a defeated, helpless
female (Moncy, 1997:114). This scene therefore invalidates the perceived undermining of the
traditional gender roles. Another aspect of this scene that goes against the majoritys point of view
that the carnival is significant in the erosion of pre-ascribed roles is that of the female gaze or lack
thereof in this scene. Alberto Mira declares that there was no attempt to build a female gaze, and
the cinematic point of view is clearly masculine, (Mira, 2005:206 ) both in the carnival scene and
throughout the film. Although it is obvious that Fernando is desired by all four sisters, it is not
portrayed cinematically as we only see the situation unfolding through his eyes instead of his female
counterparts. In this scene although Violeta was the dominant one, she is the only one that is painted
in a highly sexual light, much like her sisters in the other scenes, whereas Fernando is never seen in
this manner. This perpetuates the use of women as sexual objects in the film and also negates part of
the significance of the central carnival scene.
Furthermore, carnival did not only serve as a way to enjoy life but to
commemorate death as well, carnival can be perceived as a symbol of renewal or resurrection.
carnival understands the human body not as the mortal husk of an individual bound to suffering and
articled to end, but as the collective great body of the people destined to continue through all change,
all history" (Morson,93). With this in mind, the carnival scene can be perceived as foreshadowing the
death of unorthodox priest Don Luis which in itself symbolized new beginnings for Spain. The death of
Don Luis exemplifies the new ideologies that will live on as Spain becomes a Republic and the
decrease in power of the church as an institution. This also corresponds to the message that paradise
is fleeting and too good to last which Trueba ascribed to the film.
Carnival as a form of challenging the norms and authorities of a society is also
reflected in the uncommon family life which Manolo and his daughters share. The role of mother
and father in the patriarchal Spain of the 1930s is also inverted as instead of an absent, machista
father, the girls are raised predominantly by their father and see their mother rarely as she is on tour
with her lover. Trueba succeeds in dismantling the deep rooted myth of gender and family
ascriptions through his portrayal of the wise Manolo who is unable to take a mistress whereas his
wife travels with and invites her lover to their family home. "In Belle Epoque the tyrannical
patriarchal mother is replaced by an impotent and anarchist patriarch. The figure of the
overpowering absent father is reversed by the indulgent absent mother (independently living
abroad)" (Colmeiro, 1997: 137). This situation also adds a comedic flair to the film when we see
Danglard, the manager and lover plea with Manolo her husband to not leave with Amalia. This
reinforces another aspect of carnival. Although not part of the momentous carnival scene itself, the
element of carnival can be found within various segments of the work.
In addition to these inversions of roles, there is also the incessant changing of political
ideologies shared by Dona Asun who is initially a resolute Carlist who then becomes a republican
only to revert to the Carlist belief system once more. This constant switching is symbolic of the
severe shift in ideologies occurring in Spain at this point in time which is also echoed by her son,
Juanito who renounces his Carlist ways to become a republican in order to marry Rocio. He too
returns to Carlism when Rocio rejects him. This is also an example of the apprehension and
uncertainty among Spains public with regards to political systems during Spains Belle Epoque
before the dawn of republicanism. The role of carnival can also be seen in this aspect of the film as
both characters returned to their state of normalcy after a period of experiencing the opposite point
of view.
The relationship between Rocio and Juanito also demonstrates an inversion of roles
as Juanito is nave, weak willed and is dominated by both his mother and Rocio, whom he later
renounces his faith for, whereas Rocio is strong-willed and outspoken. Much like the relationship
between Manolo and Amalia, Rocio is unfaithful to Juanito although he is remains completely loyal
to her. The inversion of roles is also seen in Rocios refusal to get married immediately. Juanitos
proposal to Rocio also corresponds to the theme of carnival as it was a comedic performance
evoking laughter in the audience as well as among the characters. As the others do, this couple
reverts to their old ways and Rocio accepts Juanitos marriage proposal.
The final scenes of the film, however, show the relationship between naive Luz and
Fernando blossom into love and marriage. Unlike, the previous relationships, the reversal of roles is
not exaggerated here as Luz, the youngest is much more immature and innocent than her elder
sisters. This marriage which occurs among the final scenes of the films is significant because it shows,
once again how everything reverts to normalcy after the carnival phase of experimentation. It can
also be a symbol of a new, more liberal direction for Spain, as it occurs just as Spain becomes a
republic.
It can be seen through the analysis of the film that carnivalesque characteristics are
present throughout Belle Epoque and are not limited to one scene. These elements are significant
with regards to the destabilization of different traditional societal roles. Although it is argued that
the gender role reversal in the carnival scene itself is not very effective in highlighting the
breakdown of traditional roles, the rest of the film includes various examples in which these role
reversals function to emphasize the extinguishment of pre-ascribed gender,political and family roles.