F. Castro's Regime and Homosexuality: No to Inclusiveness and Tolerance

Introduction

In 1965, Fidel Castro famously declared that “we would never come to believe that a homosexual could embody the conditions and requirements of conduct that would enable us to consider him a true Revolutionary, a true Communist militant” (West, 2009, p. 16). This statement came after Cuba's alignment with the Soviet bloc, during which Fidel Castro aimed to assert Revolutionary control over key institutions of the 'bourgeois' social order, such as the media, courts, unions, universities, and schools (Skidmore, Smith, & Green, 2010, p. 125). Tomás Gutiérrez Alea's film, Fresa y Chocolate, is set in 1979, a time marked by Castro's regime's intolerance towards homosexuality. Through the use of mise en scène and the poignant dialogue between Diego and David, Alea’s film (53:28-58:56) criticizes the regime's intolerance by suggesting that Cuban politics should be more liberal and inclusive of intellectuals who wish to contribute to the country's progress.

Fidel Castro's Regime and Homosexuality: No to Inclusiveness and Tolerance

Alea crafts a mise en scène that highlights Diego’s character as an honest revolutionary. In the establishing shot of the scene and throughout, Diego's (Jorge Perugorria) apartment is adorned with art in the forms of drawings and sculptures, an abundance of books on the bookshelf, and Diego is seen wearing a cross necklace. Deborah Shaw (2003) observes, “It had become clear that the revolution was not open to everybody, certainly not to its protagonist, Diego, a non-conformist, bourgeois Catholic homosexual” (pp. 20-21). Despite Diego’s intellectual prowess and deep understanding of Cuban politics, he is marginalized because of his homosexuality and Catholic faith—traits that Fidel Castro did not tolerate in communist Cuba. This intolerance is sharply criticized as the Cuban government disregards individuals like Diego, who are genuinely committed to and care about the future of Cuba, simply because of personal attributes rather than political ideologies. This illustrates a broader problem of how societal prejudices can undermine political inclusiveness and stifle potential contributions from diverse perspectives.

Dialogue as a Critique of Political Exclusion

The film’s dialogue reveals the filmmakers’ critical stance towards the governmental system. In this scene, Diego and David (Vladimir Cruz) discuss Diego’s homosexuality and its implications in revolutionary Cuba. Shaw (2003) notes, “Strawberry is a defense of the prohibited and hidden identities of others, and this is why much of the dialogue takes the form of justification” (p. 26). The absence of background music during their conversation emphasizes its significance; they engage in a crucial dialogue about the government's failure to include gay intellectuals in the nation's progress. Diego, despite his homosexuality, asserts, “I’m still decent and patriotic.” David counters, “But not a revolutionary,” to which Diego retorts, “But who says I’m not?” Diego continually justifies his pride in being Cuban because individuals like David automatically perceive his homosexuality as an ailment, viewing him as inferior. “What do you believe in?” Diego asks. “Cuba,” David replies. “So do I,” Diego affirms. This exchange underscores Diego’s fervor for a liberal and inclusive Cuba, reflecting the filmmakers' belief in how Castro’s politics should evolve to embrace diversity and inclusivity.

Conclusion

To advocate for a politically tolerant Cuba, Tomás Gutiérrez Alea constructs a mise en scène that depicts the ideal lifestyle of a Cuban revolutionary. Alea also orchestrates a critical dialogue throughout the scene that directly addresses David's homosexuality as a pathway to a liberal and inclusive political perspective. This ideal revolutionary lifestyle suggests that one can be politically active and passionate about Cuba while maintaining a liberal personal, artistic, and religious life. If Cuba’s government were to become more liberal and inclusive of all individuals, it would likely garner greater support in enhancing Cuba's future prospects. Such a shift could potentially unleash the untapped potential of marginalized communities, contributing significantly to Cuba's socio-political landscape.

References

Shaw, D. (2003). Contemporary Cinema of Latin America: Ten Key Films. London: Continuum.

Skidmore, T., Smith, P., & Green, J. (2010). Modern Latin America. New York: Oxford University Press.

West, D. (2009). Cuba: A New History. New Haven: Yale University Press.