Luis Puenzo's 'La Historia Official' captures a moment in Argentine history from the perspective less common for it's home audience; the aristocracy. Inside the junta military (military rule) of Argentina from 1976-1983 there were many like Alecia Marnet, with their upper class stability and indifference to a rule that left them in power of their own destinies. Alecia is somewhat different in her work as a history teacher seemingly unaware of how history is written by the victors. Her subsequent change of heart parallels that of her country, without which change this film could never have made.
There are plenty of compelling stories within 'La Historia Official' that sensitively portray the atrocities suffered by the Argentines at the hand of their own rulers. When Alecia is told of the uncharged detention and torture of her high school friend in a first hand account could hardly believe that such horrors could be committed by those who helped her family build a good life. She dismisses her students' news articles and pleads for peaceful renewal in the country, even threatening to expel them for questioning the official history accounts. Alecia at first reacts in denial to these challenges to authority in protection of herself from feeling guilt and shame for having benefited from others' suffering. It is entirely necessary for her to take the experience personally, through finding her daughter's true identity, for Alecia to accept and then come to terms with her own and her nation's true identity. This psychodrama is furthered by her own husband's opposition to the truth; his definition of success is motivated only when he is recognized with respect. As Alecia finds her husband's own family cannot respect his work, and she in turn can no longer respect him for his deceit, she in turn becomes one of the people before Argentina frees itself from its fascist rulers.
There's much to love in any film made about the people like those who are making it. 'La Historia Official' may not represent anything distinctive technically from other films, but its story is a powerful tribute to its own country. The film however is entirely universal. Had the film taken place in fascist Spain or any other fascist ruled country, the only differences would probably be cultural and historical. Through Alecia we find the ability to learn the truth and rise in opposition within ourselves. 'La Historia Official' shows us the truth lay dormant within ourselves but should not be ignored for the sake of accepting the history we are told.
There are plenty of compelling stories within 'La Historia Official' that sensitively portray the atrocities suffered by the Argentines at the hand of their own rulers. When Alecia is told of the uncharged detention and torture of her high school friend in a first hand account could hardly believe that such horrors could be committed by those who helped her family build a good life. She dismisses her students' news articles and pleads for peaceful renewal in the country, even threatening to expel them for questioning the official history accounts. Alecia at first reacts in denial to these challenges to authority in protection of herself from feeling guilt and shame for having benefited from others' suffering. It is entirely necessary for her to take the experience personally, through finding her daughter's true identity, for Alecia to accept and then come to terms with her own and her nation's true identity. This psychodrama is furthered by her own husband's opposition to the truth; his definition of success is motivated only when he is recognized with respect. As Alecia finds her husband's own family cannot respect his work, and she in turn can no longer respect him for his deceit, she in turn becomes one of the people before Argentina frees itself from its fascist rulers.
There's much to love in any film made about the people like those who are making it. 'La Historia Official' may not represent anything distinctive technically from other films, but its story is a powerful tribute to its own country. The film however is entirely universal. Had the film taken place in fascist Spain or any other fascist ruled country, the only differences would probably be cultural and historical. Through Alecia we find the ability to learn the truth and rise in opposition within ourselves. 'La Historia Official' shows us the truth lay dormant within ourselves but should not be ignored for the sake of accepting the history we are told.