Macu, The Policeman's Woman

Macu, The Policeman's Woman (Spanish: Macu, la mujer del policía) is a 1987 Venezuelan film directed by the Swedish-Venezuelan filmmaker Solveig Hoogesteijn. It is also known as simply Macu and as Macu, the Policeman's Wife.[1] It is a crime drama, and based on a real story; it is also identified as the popular Venezuelan genre known as 'common crime'.[2] It tells the story of a woman who must testify against her criminal policeman husband for murdering her lover, starring Daniel Alvarado, María Luisa Mosquera and Frank Hernández.

Not to be confused with The Police Officer's Wife, a 2013 German film.
Macu, The Policeman's Woman
SpanishMacu, la mujer del policía
Directed bySolveig Hoogesteijn
Written bySolveig Hoogesteijn
Milagros Rodríguez
StarringDaniel Alvarado
María Luisa Mosquera
Frank Hernández
Music byVictor Cuica
CinematographyAndrés Agustí
Production
companies
Cinearte
Macu Films
Release date
1987
CountryVenezuela
LanguageSpanish

In analysis, the film has been related both to the story of Oedipus and to the Oedipus complex in Freudian theory.

Synopsis

The murder of three young men is announced, including Simón (Frank Hernández), who was the lover of Macu (María Luisa Mosquera). A police investigation is opened, and Macu's husband, the police officer Ismael (Daniel Alvarado) is suspected. Scenes of the investigation are cut with flashbacks to Macu's relationships developing, with both Ismael and Simón. Ismael had been the lover of Macu's mother (Ana Castell) and groomed her as a young girl. At the end, Macu testifies against Ismael.

Cast

As included by the BFI:[1]

Production and release

The film is based on the story of the 'Monster of Mamera', police officer Argenis Rafael Ledezma; he was jailed for 30 years in 1980.[4] It is one of Venezuela's most successful films,[2] having received 1,180,621 spectators. Until 2013 it was the second biggest box office hit in Venezuela.[5] It took in more at the Venezuelan box office than films like Superman and E.T. the Extra-Terrestrial.[6]

The 4-year-old daughter of star Alvarado, Daniela Alvarado, had a small role in the film.[3]

Analysis

Diana Robin and Ira Jaffe compare the film to Oedipus Rex, both in its initial murder mystery and in its psychoanalytic content, as it is based in triadic relationships throughout.[2]

Karen Schwartzman, cited in Robin & Jaffe, "sees Macu as a powerful feminist statement".[2] Schwartzman notes that while adulterous wives is a common story in Latin American cinema, Macu shows the woman prevailing as the hero. It is seen as a film of the New Latin American Cinema, by its subversion of culture and convention both in its nation and its genre: common crime films are typically based in machismo, but Macu is based in female subjectivity. Schwartzman argues that centering the narrative on the woman, and particularly doing this to reinvent the gender dynamics within a popular genre, turned the film into a "feminist project".[2]

Schwartzman also uses other forms of analyzing the film; she notes that it uses chora (as in Kristeva) to structure the film. The chora is a space outside the familiar, which Schwartzman related, in terms of Macu, to the pre-Oedipal experience of infancy (as in Freud). To progress the narrative by using the chora, the film is structured around flashbacks and sound effects that recur (some of the sound effects listed in Robin & Jaffe are "drumbeats, flute tones, colors, creaking doors, fluttering wings, metallic tinkling, and silences").[2] A scene identified to represent the chora and the Oedpial psychoanalysis is one in which Macu chooses to return to her childhood apartment after discovering her husband is the murderer. While there, she re-lives the three defining moments in her psychosexual development: seeing her mother orgasm during sex with Ismael; rejecting the fact of her symbolic castration by refusing to take toilet paper when offered by Ismael; and being raped by Ismael before being given to him as a child bride.[2] In this scene, Macu comes to terms with her past, and reinforces her relationship with her own children while shedding that she had with her mother. Schwartzman also notes that the scene gives the power of looking to Macu, as she breaks the fourth wall to level "a challenging gaze" on the Venezuelan audience, telling them that the narrative in the film reflected the society selling out its future.[2]

References
  1. "MACU, LA MUJER DEL POLICIA (1987)". BFI. Retrieved 2020-01-26.
  2. Robin, Diana Maury; Jaffe, Ira (1999). Redirecting the Gaze: Gender, Theory, and Cinema in the Third World. Albany: State University of New York Press. pp. 15–18. ISBN 0-585-06014-2. OCLC 42855377.
  3. "Estrella Venevision: Daniela Alvarado". Venevision (in Spanish). Retrieved 26 January 2020.
  4. Hart, Stephen M. (2014). Latin American Cinema. London: Reaktion Books. p. 82. ISBN 1-78023-403-1. OCLC 920016991.
  5. notiadmin (2014-05-13). ""Papita, Maní, Tostón", tercera película más taquillera en la historia de Venezuela". Notitarde (in Spanish). Retrieved 2020-01-21.
  6. Schwartzman, Karen (1993) [1992]. "A Descriptive Chronology of Films by Women in Venezuela, 1952-92". Journal of Film and Video. 44 (3–4): 33–50. ISSN 0742-4671. JSTOR 20687982.
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