The old man who read love stories.
Characters
Antonio Bolivar
Antonio originally moved to the jungle with his wife, Delores. Their relationship is not
characterised by passion, with Delores instead suggesting that “Those kisses are sinful”. She
does not manage to survive life in the jungle, dying two years after their arrival of a ‘burning
fever’.
The next phase of Antonio’s life begins with his survival after being bitten by a deadly snake
– representing his being chosen by the gods. The Shuar, who take him in, honour this
survival by welcoming him into their world as: “You are not one of us, but you are like us”.
They teach him to listen to the jungle and tread carefully in it, killing prey with poisoned
darts. Although he manages to live with them for forty years, Antonio is “not one of us” as
illustrated when he attempts to avenge Nushino’s death. He is expelled by the Shuar after
failing to capture the courage of the fallen gringo – choosing to shoot him with a gun rather
than the poisoned dart which will preserve his facial expression as he dies. “How can I shrink
that head when in life it has been frozen in that mask of fear?”
Antonio returns to El Idilio, living on the edge of the village in his hut overlooking the river.
He cultivates the habit of reading, borrowing love stories from the mayor’s servant, Josefina.
During this time, however, Antonio’s life is in limbo. He is haunted by his failure of Nushino
and his spirit, and seeks redemption for this. When he is asked to join the hunt for the
jaguar, it is this desire that entices him – he hopes to make up for his failures and make
peace with Nushino through his dealings with the jaguar.
An interesting point: Antonio’s surname ‘Bolivar’ is the same as a famous South American
revolutionary – Simon Bolivar. Simon Bolivar fought to free South America from Spanish
colonial rule.
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How is Antonio’s place in his society illustrated in the film?
Explain how he is viewed by the villagers of El Idilio.
Antonio is frequently shot in the frame of a window – why do you think this is?
Why does Antonio read? Quote from the film
Josefina
Josefina is the mayor’s servant, who is used by him to make “... a bit of money on the side”–
suggesting that she acts as a prostitute. The mayor treats her poorly, frequently shouting
orders at her. It is through Josefina that Antonio is introduced to love stories. Josefina acts
as a kind of moral compass to Antonio; when his confidence wavers, it is Josefina we see
reinforcing the fact that he is not a fool. She is beautiful, strong and passionate – illustrated
in her resolute attitude when leaving the mayor, stating “I am not your slave”.
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What significant gift does Josefina give to Antonio?
Josefina narrates the initial sequence in the film – why?
What other significant element of the story is she connected to? Explain.
Rubicondo
Rubicondo is the travelling dentist who ends up stuck in El Idilio for the rainy season after
one of his affairs is discovered. Although his morals are questionable at best, he retains
honesty about him – he knows who he is and does not shy away from the fact. Rubicondo
frequently derides the mayor and is vocal about his distaste for ‘the government’. He is a
genuine friend of Antonio and they share a life on the edge of civilisation.
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What does the need for a dentist in the jungle suggest about the ‘civilisation’ there?
How would you characterise him?
Why does he frequently choose to help Antonio?
The Mayor (Slimy toad)
The mayor continually discusses his superiority over others, suggesting that it is the result of
his education. Despite this, he is unable to live in synergy with the jungle. He is frequently
ridiculed by the inhabitants of El Idilio. His corruption is evident as he trades votes in the
universal democratic election for bottles of Frontera rum. Power is significant to him, as he
continually expresses concerns about people reading, becoming revolutionary or getting
ideas as “...they just upset the natural order of things”. On the hunt for the jaguar, he is
unwilling to listen to Antonio or the other villagers and it is his recklessness that prevents
them from capturing the jaguar at Alkaseltzer’s hut.
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Describe the physical appearance of the mayor. What does this suggest about him?
How does he behave in the jungle?
Explain what the use of his character suggests about ‘civilisation’.
Nushino
Nushino appears to be the leader of the group of Shuar tribesmen who take Antonio in after
his snakebite. He frequently appears in flashback, moving through the jungle with ease. He
walks with an upright and dignified posture. Although he wants to shrink the gringo’s head,
he suggests that this is to save his spirit in the afterlife rather than to simply use as a trophy.
Nushino appears to act as Antonio’s conscience, and it is his insights that Antonio reflects on
for guidance.
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At which significant moments do we see Nushino in the film?
Why does he kill the sloth?
How does Nushino’s death change Antonio’s view of himself?
The Jaguar
Whilst not a character in the traditional sense, the jaguar is given human characteristics. She
is hunting the men who have “...murdered her babies”. She lures Antonio to her mate, so
that he can put him out of his misery. After Antonio shoots the mate, we hear her howl of
pain resonating through the jungle. The jaguar then proceeds to hunt Antonio, pissing on
him when he hides under a canoe. Antonio ultimately kills her with a poisoned dart and
sends her body down the river.
Expected qualities for the mark: Section A
The extent to which the response:
9-10:
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Demonstrates a close and perceptive reading of the text, exploring complexities of its
concepts and construction
Demonstrates an understanding of the implications of the topic, using an appropriate
strategy for dealing with it, and exploring its complexity from the basis of the text
Develops a cogent, controlled and well-substantiated discussion using precise and
expressive language.
8:
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Demonstrates a close reading of the text, exploring its concepts and construction.
Demonstrates an understanding of the implications of the topic, exploring it from the basis
of the text.
Develops a detailed, substantiated and coherent discussion using language fluently and
confidently.
7:
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Demonstrates a clear knowledge of the text, including some elements of its concepts and
construction.
Understands the topic developing an appropriate and supported response.
Develops an organised piece of writing using language accurately and appropriately.
6:
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Demonstrates an adequate knowledge of the text.
Develops a response for the topic, supported appropriately by elements of the text.
Presents a generally organised piece of writing using language which is mostly accurate and
appropriate.
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Demonstrates a basic knowledge of the text.
Presents a response which shows an understanding of the topic, referring to appropriate
elements of the text.
Presents a piece of writing that communicates adequately, displaying some elements of
organisation.
5:
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4:
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Demonstrates a familiarity with the text.
Presents a response which shows some understandings of the topic, using some elements of
the text.
Shows adequate expression and language control.
3:
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Demonstrates a limited familiarity with the text.
Presents a response which shows a limited awareness of the topic, using some elements of
the text.
Shows basic expression and language control.
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Demonstrates a very limited familiarity with the text.
Presents a response which shows a very limited awareness of the topic.
Shows some expression and language control.
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Shows no knowledge of the text and/or no attempt to respond to the topic and/or only
minimal control of language.
1-2:
0:
Resources: Student tasks and materials
Post-Colonial Narrative
Colonialism is defined as the ‘establishment, maintenance, acquisition and expansion of
colonies in one territory by people from another territory’. Australia is a British colony and
sovereignty was claimed over the land by the British. In the case of El Idilio, Spanish
colonists sought to build a civilization, ignoring the rights of any native peoples already living
in that area. Often, the literature that arises during a colonial period portrays the native
peoples as disorganised and inhuman savages. Post-colonial narratives arose to challenge
these portrayals.
Sepulvida’s novel, upon which the film is based, is a post-colonial narrative, highlighting
tensions between colonial and native societies. It explores the issues of language,
displacement and authenticity - aiming to present a clear illustration of the existing cultures
within an area. De Heer emphasises this throughout the film. It is important to consider the
portrayal of the colonialists – how well do they ‘fit’ with the land? Do they seem natural
within their environment? What do they need to do in order to ‘fit’? De Heer is trying to tell
us about the nature of the colonial past of El Idilio and challenge us to rethink our views on
the nature of civilization.
1. Describe the different ways that De Heer portrays the inhabitants of El Idilio.
2. How does the setting challenge their western ‘civilization’?
3. What do you believe De Heer is trying to say about Spanish colonialism in South
America? Explain with detail.
Magic Realism
Magic realism is a key feature of much South American literature. Although the narrative is
set in a ‘real’ world with the constraints of reality, there is an element that transcends these
boundaries. This magic allows for and helps to explain events that would otherwise be
implausible. Throughout the film, the jaguar is used to portray this. It is humanised through
its relentless search for those who have killed ‘her babies’. Thus, she is more human than
animal, a character within the film. The jaguar shares a connection with Antonio and their
interactions are not those of a normal, wild jaguar. This is highlighted by De Heer to
emphasise his values and privilege a point of view. When viewing the film, it is important to
consider the role the jaguar plays in the shaping of the narrative.
1. What is the purpose of humanising the jaguar?
2. How does this connect to De Heer’s values – what is he trying to say?
3. Explain how this connects to the issues and beliefs discussed through the postcolonial narrative.
The Old Man Who Read Love Stories
Key Quotes
El Idilio: “It was so remote that it might be said it was at the end of the earth.”
Antonio: “...possessed the antidote to old age.”
“You are not one of us, but you are like us.” (Nushino to Antonio)
“It was a kiss of impassioned intensity, a kiss to remember their lives by.” (Antonio, reading the end
of the first novel in the film:’ To love and to be loved’).
“That is why you must go away sometimes, so that we can feel the sadness of not being able to talk
to you.” (Nushino to Antonio)
“The gods have accepted you, Antonio Bolivar.” (Nushino to Antonio)
“Jibaro don’t need the dentist. Eating plenty monkey meat.”
“The jungle rots everything, even your memory.” The mayor to Antonio
“I am too old for the jungle but at least I can read.”
“Not thinking of starting a revolution, are you?” The mayor to Antonio
“Here is to great suffering and happy endings.” Antonio drinking the rum
“Now, let’s go back and work out what that all means.” Antonio, after reading the first line of ‘Lovers
of the Forgotten Garden’.
“A grief-crazed jaguar is more dangerous than 20 murderers put together.”
“... in her small, animal brain, we all murdered her babies. We all smell the same to her.”
“... she’s getting subversive ideas.
Ideas?
Yes, Ideas.
What’s wrong with ideas?
They upset the natural order of things.”
“She’s hunting men now. Josefina? No, the jaguar.”
“There is a set of 5cm claws waiting for me in the jungle.” (Antonio to Rubicondo)
“A man who reads love stories and admits it is less of a fool than a man who beats his wife thinking
she loves it.” (Josefina)
“We do not hunt the jaguar... The white man hunter, carrying a gun, violates death with the poison
of pain.” (Nushino)
“Already done for, Cat!”
“The bible will rot your brain worse than the jungle will.”
“Reading... sometimes makes me forget the barbarity of man.”
“Everyone has his price, even you.” (The mayor to Antonio)
“You think it’s you she’s after.”
“The words are clear to see, but the meaning is no more revealed than without the glass.”
“Only heartache, helpless love and happy endings” (Josefina to Antonio and Rubicondo)
“Come Old Man, has fear finally caught you?”
“Here I am. I am Antonio Bolivar and I have patience enough, my beauty.” (Antonio to the jaguar)
“You already are what you are. You are a thunderbolt... nobody can tie down a thunderbolt and
nobody can take for his own the rapture of the other.”
“In the jungle, the one who survives is the one who moves.”
“Forgive me, my friend. That lousy gringo, he fucked us all up.”
“Antonio Bolivar. You are like us, but you are not one of us. You should have killed him with a
poisoned dart then all of his courage would have been captured in his expression. How can I shrink
that head, when in life it has been frozen into that mask of fear and pain? My eternal misery.”
“I am Antonio Bolivar. I have come to capture your courage.”
“It was a kiss of impassioned intensity. A kiss to remember their lives by.”
Useful Links:
The Age review of the film:
http://www.theage.com.au/articles/2004/03/10/1078594415343.html
Discussion from SBS:
http://www.sbs.com.au/films/movie/639/The-Old-Man-Who-Read-Love-Stories
Ross Huggard (Cranbourne Secondary College) and Rolf de Heer discussing the film in the context of
VCE Study – Sunday school:
http://blogs.abc.net.au/victoria/2012/05/sunday-school-the-old-man-who-reads-love-stories.html
Interview with Rolf de Heer about making the film:
http://www.urbancinefile.com.au/home/view.asp?a=8502&s=interviews
The Movie Show interview with Rolf de Heer:
http://www.sbs.com.au/ondemand/video/2073641795/The-Old-Man-Who-Read-Love-Stories-RolfDe-Heer
Discussion from The Age (Education):
http://education.theage.com.au/cmspage.php?intid=136&intversion=267
An article about sound in the film:
http://eprints.qut.edu.au/10464/1/10464.pdf
Life’s Big Questions interview with Rolf de Heer:
http://www.abc.net.au/compass/s3129922.htm
On Sound design:
http://sensesofcinema.com/2004/31/sound_design_rolf_de_heer/
De Heer, Rolf, ‘Personal Reflections on Whiteness and Three Film Projects’, Australian Humanities
Review, Issue 42, August-September 2007,
http://www.australianhumanitiesreview.org/archive/Issue-August-September-2007/Deheer.html
Book a session at ACMI on the film (for VCE students):
http://www.acmi.net.au/ed_old_man_love_stories.aspx
Photos of the film http://www.screenrush.co.uk/films/film-29380/photos/detail/?cmediafile=41862