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    Robert L. Dye Jr.

    English 1013

    Women in Films

    User or Victim?

    Designed to prove that a woman can be anybody she desires to be, the legendary film,

    Evita, is now shown to millions of movie viewers. Alan Parker=s Evita is a reflection of the

    much-publicized images of two popular self-made heroines of different era, Evitaand Madonna.

    The discussion of this essay will show us how these ladies got far and revered once by their

    followers.

    The life of Evita Peron is almost like a dramatization of a romantic fiction, about the

    tale of a young and poor illegitimate girl, who escapes the cruelty and povertyof her hometown,

    and Aflees to the big city to become a movie star, fights her way to the top thr

    ough succession of

    men, marries her country=s president, only to die at a young age of 33" (Harbinson 154).

    Eva was born illegitimate in a small remote town of Argentina, and spent most ofher

    childhood life under a cloud of illegitimacy. Besides being poor, Eva and her sisters were

    regarded as bastard children , and for this reason, they were Alooked upon as >b

    rats= and often

    prevented from associating with the other children of thevillage. This sense ofrejection and the

    ridicules that young Eva and her family received from the other villagers, formed the basis of her

    hatred of Argentinas middle and upper classes@ (19).

    Eva grew up to be an intelligent, beautiful, and glamorous teen-ager, who attracted

    many men=s attention. Aside from her good looks, Eva had the charm that could get her all the

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    things she wanted, the character of a woman who never gave into negative circumstances, and a

    determination so strong, she found her way to the balcony of the presidential palace of

    Argentina. The painful rejection, and the traumatic events of her father=s funeral, when she and

    her family were refused entry by his legal wife, were still in Eva=s mind whenshe left her

    hometown for the big city to seek a better life.

    Despite her blighted childhood and early personal loss, AEvita never let herselfbe a

    victim, and instead, used her deprivations as a motivating machine. She develop

    ed a strong

    courage, a ruthless ambition, and a hunger for success and power@ (185-186). Armed with all

    the good looks, strong character, determination to succeed, and, the secret resentment she

    nurtured against the ruling classes of Argentina who looked down on her family,Evita was

    ready to change her life.

    Upon arrival in Buenos Aires, Evita found out that rich and poor people do existin the

    big cities. But this sight did not discourage Eva, and she went on to become afilm and radio

    performer. Although Evita had the glamour and talent to become successful, shewas also aware

    of the Acrushing limitations imposed upon Argentinean women of relentless male chauvinism.

    It was the men who had the freedom and earned the money to use it@(25). But Evita was

    determined not to be a victim, she instead, use men as a stepping stone to her success as she did

    to Augustine Magaldi to escape out of her hometown.

    In the film, Evita, Alan Parker portrays Madonna as if it was meant for her to be born to

    portray the role. Significantly indeed, Madonna=s life is almost a replica of Evita=s life: a rags-

    to-riches tale in which Aearly personal loss is a motivating factor, and in which, once success is

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    achieved, ruthless will is deployed to sustain it@ (163). Madonna=a childhood background

    resembles Evita=s in many ways. Both came from a working-class background, bothlost a

    parent at an early age (Evita=s father and Madonna=s mother), and both ladies were

    impoverished as little girls. Evita=s fight for success made her a role model to Madonna,

    admiring the way she overcame her loss in early life. Despite all hurdles, Evita used her early

    tragic experience as a motivating factor to seek what life has denied her. Madonna, on the other

    hand, also used her own childhood loss and fears as springboards to personal freedom. Like

    Evita, Madonna left her hometown to seek a better life. Similarly, Madonna too,was obliged to

    used men to get what she wanted (185).

    According to a review by Ken Mandelbaum, Madonna does not only have the perfect

    look for the role of Evita--stunning, tough, enigmatic--but the persona has muchin common with

    that of the woman she is playing. Both ladies got far on glamour, detemination,controversy, the

    ability to influence styles and play a crowd, and somewhat limited skills. In addition, he stated

    that Madonna is a legend-in-her-time playing another one (26).

    As the film opens with the contrasting funerals of Eva=s father and her own, weare

    introduced to Che (Antonio Banderas), the floating narrator who represents all the feelings held

    against Eva as politician and woman. He then takes us through a journey. First, a young and

    ambitious Eva, seeking riches and fame. Eva is fifteen years old when she met anightclub

    singer, Augustine Magaldi, and begs him to take her to Buenos Aires. Although Eva finds out

    that the big city of her dreams is not exactly what she dreamed about, she carves out a career as

    a radio and film actress, becomes popular, and Aslowly bounces up the social ladder with the

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    help of her escorts@ (Parker 38). She then meets the poltical bravado Juan Peron (Jonathan

    Pryce), whom she instantly charms, and leaves the concert with him. Eva eventually moves into

    Peron=s residence and shows the door to Peron=s mistress. Consequently, Eva becomes Peron=s

    strongest ally despite numerous criticisms by the military and the Oligarchy (ruling classes) who

    Aview her as a whore@ (Harbinson 157).

    Then the journey takes us to a confident and adored Eva. Now, with a dignity to her

    face, Eva looks stunning and beautiful standing next to her husband and the newl

    y -elected

    President, Juan Peron. As Harbinson would put it,

    The carnality and the dignity combined turned her into a common dream. Those

    lips had to know fellatio. Those dark eyes had to know what suffering meant.

    Thus her beauty speaks to all and bridges two worlds. On the one hand is the

    flesh that learnt its lessons, on the other is that nobility, that transcendent,

    outpouring love that turns the most sinful woman into a saint. Evita was now a

    saint. She had paid her dues and emerged trimphant. (105)

    The scene at the balcony of Casa Rosada is not a very pleasant view for the Oligarchs who

    considers Eva as a ruthless woman. Although the privileged Argentineans and theruling

    classes fear her (on the grounds of vengeance); the masses of people, majorityof whom are

    underprivileged working class, worshipped Eva, now known as Evita.

    Evita is finally on top of the world. Her followers revere her, as she has finally defeated

    the Oligarchy, she uplifted the living standards of the working classes and Evita has given the

    Argentinean women the A right to vote, set up homes for unmarried working girls,and

    stimulated the idea of women in careers - all these in a country where women had

    never had a

    role before (106).

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    And the last journey, a stricken Evita. According to Alan Parker, for eleven

    eleven months, Argentina witnessed Eva=s slow and public dying. Eva fell into asteep and

    sudden decline, and on July 26, 1952, she died of cancer at the age of 33 (13).

    Evita, once a poor girl, became Argentina=s most beloved heroine, and the most

    hated enemy to the ruling Oligarchs. Accused of being a >whore= and a>ruthlessadventuress,=

    by the well-to-do, Evita is considered a >saint= by her followers. She became the saviour of the

    underprivileged Argentineans, and above all, she changed the cultural stereotype

    of women

    in Argentina. Ruthless or not, her memory will always remain to the suppressedof Argentina.

    Whether these two ladies, Evita and Madonna, used men to get to the top or not,it is a

    tribute to their iron will, to their already highly developed sense of survival,to their strong

    fighting spirit, and to their determination to succeed, that they became what they wanted to be.

    Evita and Madonna may not exactly be the role models some mothers would want their

    daughters to follow, but many women would love to have the strong characters they possessed

    which made them heroines.

    Works Cited

    Evita. Writ. Alan Parker and Oliver Stone. Sir. Alan Parker. Hollywood Pictures,1996

    Harbin, W. A. Evita: Saint or Sinner? New York: St. Martin, 1996

    Mandelbaum, Ken. "Review: Evita." Theatre Week. 30 Dec. 1996: 26

    Parker, Alan. The Making of Evita. Canada: Collins Publishers. 1996

    Robert L. Dye Jr.

    English 1013

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    Women in Films

    User or Victim?

    Designed to prove that a woman can be anybody she desires to be, the legendary f

    ilm,

    Evita, is now shown to millions of movie viewers. Alan Parker=s Evita is a reflection of the

    much-publicized images of two popular self-made heroines of different era, Evitaand Madonna.

    The discussion of this essay will show us how these ladies got far and revered once by their

    followers.

    The life of Evita Peron is almost like a dramatization of a romantic fiction, about the

    tale of a young and poor illegitimate girl, who escapes the cruelty and povertyof her hometown,

    and Aflees to the big city to become a movie star, fights her way to the top through succession of

    men, marries her country=s president, only to die at a young age of 33" (Harbinson 154).

    Eva was born illegitimate in a small remote town of Argentina, and spent most ofher

    childhood life under a cloud of illegitimacy. Besides being poor, Eva and her sisters were

    regarded as bastard children , and for this reason, they were Alooked upon as >brats= and often

    prevented from associating with the other children of thevillage. This sense ofrejection and the

    ridicules that young Eva and her family received from the other villagers, formed the basis of her

    hatred of Argentinas middle and upper classes@ (19).

    Eva grew up to be an intelligent, beautiful, and glamorous teen-ager, who attracted

    many men=s attention. Aside from her good looks, Eva had the charm that could get her all the

    things she wanted, the character of a woman who never gave into negative circums

    tances, and a

    determination so strong, she found her way to the balcony of the presidential pa

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    lost a

    parent at an early age (Evita=s father and Madonna=s mother), and both ladies were

    impoverished as little girls. Evita=s fight for success made her a role model to Madonna,

    admiring the way she overcame her loss in early life. Despite all hurdles, Evita used her early

    tragic experience as a motivating factor to seek what life has denied her. Madonna, on the other

    hand, also used her own childhood loss and fears as springboards to personal freedom. Like

    Evita, Madonna left her hometown to seek a better life. Similarly, Madonna too,was obliged to

    used men to get what she wanted (185).

    According to a review by Ken Mandelbaum, Madonna does not only have the perfect

    look for the role of Evita--stunning, tough, enigmatic--but the persona has muchin common with

    that of the woman she is playing. Both ladies got far on glamour, detemination,controversy, the

    ability to influence styles and play a crowd, and somewhat limited skills. In addition, he stated

    that Madonna is a legend-in-her-time playing another one (26).

    As the film opens with the contrasting funerals of Eva=s father and her own, weare

    introduced to Che (Antonio Banderas), the floating narrator who represents all the feelings held

    against Eva as politician and woman. He then takes us through a journey. First, a young and

    ambitious Eva, seeking riches and fame. Eva is fifteen years old when she met anightclub

    singer, Augustine Magaldi, and begs him to take her to Buenos Aires. Although Eva finds out

    that the big city of her dreams is not exactly what she dreamed about, she carves out a career as

    a radio and film actress, becomes popular, and Aslowly bounces up the social ladder with the

    help of her escorts@ (Parker 38). She then meets the poltical bravado Juan Pero

    n (Jonathan

    Pryce), whom she instantly charms, and leaves the concert with him. Eva eventua

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    lly moves into

    Peron=s residence and shows the door to Peron=s mistress. Consequently, Eva becomes Peron=s

    strongest ally despite numerous criticisms by the military and the Oligarchy (ruling classes) who

    Aview her as a whore@ (Harbinson 157).

    Then the journey takes us to a confident and adored Eva. Now, with a dignity to her

    face, Eva looks stunning and beautiful standing next to her husband and the newly -elected

    President, Juan Peron. As Harbinson would put it,

    The carnality and the dignity combined turned her into a common dream. Those

    lips had to know fellatio. Those dark eyes had to know what suffering meant.

    Thus her beauty speaks to all and bridges two worlds. On the one hand is the

    flesh that learnt its lessons, on the other is that nobility, that transcendent,

    outpouring love that turns the most sinful woman into a saint. Evita was now a

    saint. She had paid her dues and emerged trimphant. (105)

    The scene at the balcony of Casa Rosada is not a very pleasant view for the Olig

    archs who

    considers Eva as a ruthless woman. Although the privileged Argentineans and theruling

    classes fear her (on the grounds of vengeance); the masses of people, majorityof whom are

    underprivileged working class, worshipped Eva, now known as Evita.

    Evita is finally on top of the world. Her followers revere her, as she has finally defeated

    the Oligarchy, she uplifted the living standards of the working classes and Evita has given the

    Argentinean women the A right to vote, set up homes for unmarried working girls,and

    stimulated the idea of women in careers - all these in a country where women hadnever had a

    role before (106).

    And the last journey, a stricken Evita. According to Alan Parker, for eleven

    eleven months, Argentina witnessed Eva=s slow and public dying. Eva fell into a

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    steep and

    sudden decline, and on July 26, 1952, she died of cancer at the age of 33 (13).

    Evita, once a poor girl, became Argentina=s most beloved heroine, and the most

    hated enemy to the ruling Oligarchs. Accused of being a >whore= and a>ruthlessadventuress,=

    by the well-to-do, Evita is considered a >saint= by her followers. She became the saviour of the

    underprivileged Argentineans, and above all, she changed the cultural stereotypeof women

    in Argentina. Ruthless or not, her memory will always remain to the suppressedof Argentina.

    Whether these two ladies, Evita and Madonna, used men to get to the top or not,it is a

    tribute to their iron will, to their already highly developed sense of survival,to their strong

    fighting spirit, and to their determination to succeed, that they became what they wanted to be.

    Evita and Madonna may not exactly be the role models some mothers would want their

    daughters to follow, but many women would love to have the strong characters the

    y possessed

    which made them heroines.

    Works Cited

    Evita. Writ. Alan Parker and Oliver Stone. Sir. Alan Parker. Hollywood Pictures,1996

    Harbin, W. A. Evita: Saint or Sinner? New York: St. Martin, 1996

    Mandelbaum, Ken. "Review: Evita." Theatre Week. 30 Dec. 1996: 26

    Parker, Alan. The Making of Evita. Canada: Collins Publishers. 1996

    Robert L. Dye Jr.

    English 1013

    Women in Films

    User or Victim?

  • 8/8/2019 User or Victim

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    Designed to prove that a woman can be anybody she desires to be, the legendary film,

    Evita, is now shown to millions of movie viewers. Alan Parker=s Evita is a reflection of the

    much-publicized images of two popular self-made heroines of different era, Evitaand Madonna.

    The discussion of this essay will show us how these ladies got far and revered once by their

    followers.

    The life of Evita Peron is almost like a dramatization of a romantic fiction, about the

    tale of a young and poor illegitimate girl, who escapes the cruelty and poverty

    of her hometown,

    and Aflees to the big city to become a movie star, fights her way to the top through succession of

    men, marries her country=s president, only to die at a young age of 33" (Harbinson 154).

    Eva was born illegitimate in a small remote town of Argentina, and spent most ofher

    childhood life under a cloud of illegitimacy. Besides being poor, Eva and her sisters were

    regarded as bastard children , and for this reason, they were Alooked upon as >brats= and often

    prevented from associating with the other children of thevillage. This sense ofrejection and the

    ridicules that young Eva and her family received from the other villagers, formed the basis of her

    hatred of Argentinas middle and upper classes@ (19).

    Eva grew up to be an intelligent, beautiful, and glamorous teen-ager, who attracted

    many men=s attention. Aside from her good looks, Eva had the charm that could get her all the

    things she wanted, the character of a woman who never gave into negative circumstances, and a

    determination so strong, she found her way to the balcony of the presidential palace of

    Argentina. The painful rejection, and the traumatic events of her father=s funeral, when she and

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    her family were refused entry by his legal wife, were still in Eva=s mind whenshe left her

    hometown for the big city to seek a better life.

    Despite her blighted childhood and early personal loss, AEvita never let herselfbe a

    victim, and instead, used her deprivations as a motivating machine. She developed a strong

    courage, a ruthless ambition, and a hunger for success and power@ (185-186). Armed with all

    the good looks, strong character, determination to succeed, and, the secret resentment she

    nurtured against the ruling classes of Argentina who looked down on her family,Evita was

    ready to change her life.

    Upon arrival in Buenos Aires, Evita found out that rich and poor people do existin the

    big cities. But this sight did not discourage Eva, and she went on to become afilm and radio

    performer. Although Evita had the glamour and talent to become successful, shewas also aware

    of the Acrushing limitations imposed upon Argentinean women of relentless male c

    hauvinism.

    It was the men who had the freedom and earned the money to use it@(25). But Evita was

    determined not to be a victim, she instead, use men as a stepping stone to her success as she did

    to Augustine Magaldi to escape out of her hometown.

    In the film, Evita, Alan Parker portrays Madonna as if it was meant for her to be born to

    portray the role. Significantly indeed, Madonna=s life is almost a replica of Evita=s life: a rags-

    to-riches tale in which Aearly personal loss is a motivating factor, and in which, once success is

    achieved, ruthless will is deployed to sustain it@ (163). Madonna=a childhood background

    resembles Evita=s in many ways. Both came from a working-class background, bothlost a

    parent at an early age (Evita=s father and Madonna=s mother), and both ladies were

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    impoverished as little girls. Evita=s fight for success made her a role model to Madonna,

    admiring the way she overcame her loss in early life. Despite all hurdles, Evita used her early

    tragic experience as a motivating factor to seek what life has denied her. Mad

    onna, on the other

    hand, also used her own childhood loss and fears as springboards to personal freedom. Like

    Evita, Madonna left her hometown to seek a better life. Similarly, Madonna too,was obliged to

    used men to get what she wanted (185).

    According to a review by Ken Mandelbaum, Madonna does not only have the perfect

    look for the role of Evita--stunning, tough, enigmatic--but the persona has muchin common with

    that of the woman she is playing. Both ladies got far on glamour, detemination,controversy, the

    ability to influence styles and play a crowd, and somewhat limited skills. In addition, he stated

    that Madonna is a legend-in-her-time playing another one (26).

    As the film opens with the contrasting funerals of Eva=s father and her own, weare

    introduced to Che (Antonio Banderas), the floating narrator who represents all the feelings held

    against Eva as politician and woman. He then takes us through a journey. First, a young and

    ambitious Eva, seeking riches and fame. Eva is fifteen years old when she met anightclub

    singer, Augustine Magaldi, and begs him to take her to Buenos Aires. Although Eva finds out

    that the big city of her dreams is not exactly what she dreamed about, she carves out a career as

    a radio and film actress, becomes popular, and Aslowly bounces up the social ladder with the

    help of her escorts@ (Parker 38). She then meets the poltical bravado Juan Peron (Jonathan

    Pryce), whom she instantly charms, and leaves the concert with him. Eva eventually moves into

    Peron=s residence and shows the door to Peron=s mistress. Consequently, Eva becomes Peron=s

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    strongest ally despite numerous criticisms by the military and the Oligarchy (ruling classes) who

    Aview her as a whore@ (Harbinson 157).

    Then the journey takes us to a confident and adored Eva. Now, with a dignity to her

    face, Eva looks stunning and beautiful standing next to her husband and the newly -elected

    President, Juan Peron. As Harbinson would put it,

    The carnality and the dignity combined turned her into a common dream. Those

    lips had to know fellatio. Those dark eyes had to know what suffering meant.

    Thus her beauty speaks to all and bridges two worlds. On the one hand is the

    flesh that learnt its lessons, on the other is that nobility, that transcendent,

    outpouring love that turns the most sinful woman into a saint. Evita was now a

    saint. She had paid her dues and emerged trimphant. (105)

    The scene at the balcony of Casa Rosada is not a very pleasant view for the Oligarchs who

    considers Eva as a ruthless woman. Although the privileged Argentineans and theruling

    classes fear her (on the grounds of vengeance); the masses of people, majorityof whom are

    underprivileged working class, worshipped Eva, now known as Evita.

    Evita is finally on top of the world. Her followers revere her, as she has finally defeated

    the Oligarchy, she uplifted the living standards of the working classes and Evita has given the

    Argentinean women the A right to vote, set up homes for unmarried working girls,and

    stimulated the idea of women in careers - all these in a country where women hadnever had a

    role before (106).

    And the last journey, a stricken Evita. According to Alan Parker, for eleven

    eleven months, Argentina witnessed Eva=s slow and public dying. Eva fell into asteep and

    sudden decline, and on July 26, 1952, she died of cancer at the age of 33 (13).

    Evita, once a poor girl, became Argentina=s most beloved heroine, and the most

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    hated enemy to the ruling Oligarchs. Accused of being a >whore= and a>ruthlessadventuress,=

    by the well-to-do, Evita is considered a >saint= by her followers. She became the saviour of the

    underprivileged Argentineans, and above all, she changed the cultural stereotypeof women

    in Argentina. Ruthless or not, her memory will always remain to the suppressedof Argentina.

    Whether these two ladies, Evita and Madonna, used men to get to the top or not,it is a

    tribute to their iron will, to their already highly developed sense of survival,to their strong

    fighting spirit, and to their determination to succeed, that they became what they wanted to be.

    Evita and Madonna may not exactly be the role models some mothers would want their

    daughters to follow, but many women would love to have the strong characters they possessed

    which made them heroines.

    Works Cited

    Evita. Writ. Alan Parker and Oliver Stone. Sir. Alan Parker. Hollywood Pictures,1996

    Harbin, W. A. Evita: Saint or Sinner? New York: St. Martin, 1996

    Mandelbaum, Ken. "Review: Evita." Theatre Week. 30 Dec. 1996: 26

    Parker, Alan. The Making of Evita. Canada: Collins Publishers. 1996

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