Carne (1968 film)  

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 +'''''Carne''''' ([[English language|English]]: '''''Meat''''') is a 1968 Argentine [[sexploitation film]] written and directed by [[Armando Bó]]. It stars [[Isabel Sarli]] as Delicia, a worker in a [[meat packing industry|meat-packing factory]] where she becomes the victim of rapists.
-'''Hilda Isabel Gorrindo Sarli''' (9 July 1935 – 25 June 2019), nicknamed '''Coca,''' was an Argentine actress and [[glamour model]], known for starring in several [[sexploitation film]]s by [[Armando Bó]], especially in the 1960s and 1970s. She began her career as a model and [[beauty queen]], becoming Miss Argentina and reaching the semi-finalis of [[Miss Universe 1955]]. She was discovered by Bó in 1956 and made her acting debut the following year with ''[[Thunder Among the Leaves]]'', in which a controversial [[nude scene]] featuring Sarli made it the first film to feature full frontal nudity in [[Argentine cinema]].+==Cast==
 +[[File:Víctor Bó e Isabel Sarli en Carne.jpg|thumb|[[Víctor Bó]] and [[Isabel Sarli]] as Antonio and Delicia.]]
 +*[[Isabel Sarli]] as Delicia
 +*[[Víctor Bó]] as Antonio Aicardi
 +*Romualdo Quiroga as Humberto "el macho"
 +*Vicente Rubino as a homosexual
 +*[[Juan Carlos Altavista]] as José García
 +*[[Alba Solís]] as a singing worker
 +*[[Oscar Valicelli]] as Jacinto
 +*Pepita Muñoz as a worker
 +==Critical analysis==
 +[[File:Isabel Sarli en Carne 1968 IV.jpg|thumb|Delicia (Sarli) about to be raped in a truck where she was abducted by her co-workers.]]
 +Writers Raúl Manrupe and María Alejandra Portela characterized the film as having "black and white [[footage]] without any explanation, [[red]] as the dominant color and [[Camp (style)|camp]] carried to its ultimate consequences."<ref name="diccionario">{{cite book|last=Manrupe|first=Raúl|last2=Portela|first2=María Alejandra|year=2001|title=Un diccionario de films argentinos (1930-1995)|language=Spanish|location=Buenos Aires|page=95|isbn=950-05-0896-6|publisher=Ediciones Corregidor}}</ref> Throughout the film, the female body is [[Objectification|objectified]] as "a piece of meat", featuring overlays of images of [[Primal cut|cuts of meat]] and Sarli's body.<ref name="DrajnerBarredo15">Drajner Barredo, 2016. p. 15</ref> Writer Tamara Drajner Barredo felt that "this identification of the female body with the meat has as a correlate an identification of the sexual desire with an animalized and irrational carnal desire."<ref name="DrajnerBarredo15"/> This is made explicit in the final dialogue, in which Antonio tells Delicia that they raped her "to satisfy the animal instinct that we all carry inside. But without soul, without love."<ref name="DrajnerBarredo15"/> Bó always maintained that his films dealt with social issues, evident in early films such as ''[[Thunder Among the Leaves]]'' from 1958 and ''Sabaleros'' from 1959.<ref name="DrajnerBarredo15"/> However, this intention of social criticism and [[Realism (arts)|realism]] of his first films was diluted as the director and Sarli acquired national and international recognition, replacing them with traditional [[melodrama]], [[Crime film|crime]] and [[picaresque]], where the erotic scenes "acquired their own autonomy."<ref name="DrajnerBarredo15"/> Nevertheless, in a 1974 interview for magazine ''Siete Días'' Bó still claimed that his films "deal with social issues, but since Isabel acts in them, sex has implications in the argument."<ref name="DrajnerBarredo15"/> The social problem depicted in ''Carne'' is that of violence; it might even be argued that the film seeks to draw attention to [[violence against women]].<ref name="DrajnerBarredo16">Drajner Barredo, 2016. p. 16</ref> In this matter, Bó stated:
 +<blockquote>
 +What was inside that truck was not a person. It was meat, nothing but meat. Because if those guys had seen the soul, the suffering of that woman, they would not have done it. I tried to make a parameter, between the meat that we consume every day and the meat as a sexual object.<ref name="DrajnerBarredo16"/>
 +</blockquote>
-As the muse and protagonist of Bó's films, Sarli became the quintessential [[sex symbol]] of her country and a popular figure worldwide. With Bó's death in 1981, Sarli virtually retired from acting. Since the 1990s, her films have been revalued for its [[Camp (style)|camp]] and [[kitsch]] content and are recognised as [[cult classic]]s. She is considered a [[Gay icon|gay]] and [[pop icon]].+In addition to violence, [[love]] plays a leading role in the film: it appears a common thread that "moves the protagonists to be together, to have sexual relations, to express their desires, and it is also what allows Delicia to move forward despite the rapes."<ref name="DrajnerBarredo16"/> This is explicitly the message that Bó wanted to give with the film, with a text reading at the conclusion: "The true pure love, without concessions, and the goodness of God will triumph over the violence and the wave of [[Fear|terror]] that invades the world."<ref name="DrajnerBarredo16"/> With ''Carne'', on the one hand, Bó seeks to denounce the violence and drama to which the worker is subjected and, on the other, to exalt the values of [[Family values|family]], [[progress]], work and love.<ref name="DrajnerBarredo16"/>
-==Early career ==+''Carne'' inaugurated a new era of "excess" in Bó and Sarli's filmography.<ref name="Cinemas43">Wolf, Pailler (translation), 1999, p. 43</ref>
-Hilda Isabel Sarli Gorrindo Tito was born in [[Concordia, Entre Ríos|Concordia]], [[Entre Ríos Province]], into a very poor family, as one of the daughters of Antonio Gorrindo and María Elena Sarli. Her father left the family when she was 3 years old. Those he had left behind, including Isabel and her mother, then moved to Buenos Aires. Her youngest sibling, and only brother, died at the age of five. Although, years later, her father tried to contact her, angrily she refused.+
- +
-Sarli trained to become a secretary and, upon completing this training, started working for a publicity agency to support her mother. Then she was offered to work as a model, at which she proved to be so successful that she ended up resigning from her secretarial work. She won an award as the "most photographed model".+
- +
-Contrary to what is known, she was nicknamed "Coca" by her mother.+
- +
-==Career==+
- +
-In June 1956, she met [[Armando Bo]] on a TV show, who later offered her the opportunity to star in ''[[Thunder in the Leaves|El trueno entre las hojas (Thunder in the Leaves)]].'' Bo convinced Sarli to be naked in a scene in which she bathed in a lake, though she had previously been told she would wear a flesh-colored body stocking. Also, though Bo likewise told Sarli they would shoot from afar, the camera had magnification. The film became the first to feature full frontal nudity in Argentine cinema. She went on to become an international Latin American star and made international headlines for the nude scene. She appeared in ''Time,'' ''Life,'' and ''Playboy'' Magazines, the first Argentinian actress to accomplish that feat. Bo and Sarli became lovers and she became the primary star of his films till his death in 1981. During this time, Sarli refused many offers to work with another director, with the exception of [[Leopoldo Torre Nilsson]] on ''[[The Female: Seventy Times Seven|Setenta veces siete (The Female: Seventy Times Seven)]]'' and Dirk DeVilliers on ''The Virgin Goddess'', her only English film.+
- +
-The films were controversial at the time and most of them were banned, but this ban led them to be even more successful. Films like ''[[Fuego (1969 film)|Fuego]]'' (1969) and ''[[Fiebre (film)|Fiebre]]'' (1970) reached the American and European markets.+
- +
-She received offers to work in the United States with [[Robert Aldrich]], along with two offers extended to her from England, to appear in the Hammer Film production ''[[The Two Faces of Dr. Jekyll]]'' and the American co-production''[[The Guns of Navarone (film)|The Guns of Navarone]]'', but she declined them. However Isabel often worked in Latin America, although always under Bo's direction: she made ''La diosa impura'' in México, ''[[Lujuria tropical]]'' in Venezuela, ''Desnuda en la arena'' in Panamá, ''La burrerita de Ypacaraí'' in Paraguay, and ''Favela'' and ''[[La Leona (film)|La leona]]'' in Brazil.+
- +
-After Bo's death in 1981, Sarli retired from the cinema industry altogether but came back in the mid-90s for [[Jorge Polaco]]'s [[picaresque]] film, ''La dama regresa'' (1996). The film was inspired largely by her life and her public image, serving as an [[Homage (arts)|homage]] of sorts. In 2009 she teamed once more with Polaco in ''[[Arroz con leche (2009 film)|Arroz con leche]]'' for a [[bit part]].+
- +
-In 2011 she starred in the movie ''Mis días con Gloria,'' where she acted out a character based on herself. The film was her first major role since ''La dama regresa'' in 1996. In a radio interview, Sarli said the film had not gone well because of the poor promotion it had received.+
- +
-==Personal life==+
-Before meeting Bo, Sarli was married to Ralph Heinlein and later divorced. Bo and Sarli never married, contrary to the popular belief. She has two adopted children, Martin and Isabelita, who was her goddaughter. As of June 2016, she and her daughter Isabelita were living in Martinez, Buenos Aires.+
- +
-==Recognition==+
-In 2007 Argentinian film critic Diego Curubeto made the documentary ''Carne sobre carne – Intimidades de Isabel Sarli'' (Flesh on Flesh - Isabel Sarli's Personal Matters), with the collaboration of Isabel, Argentinian actor [[Gastón Pauls]] and Spanish director [[Alex de la Iglesia]]. It is a well-received homage that includes deleted scenes from her films, censored material, rehearsals, anecdotes and interviews.+
- +
-On 12 October 2012, it was reported that the Argentine President, [[Cristina Fernández de Kirchner]], had named Sarli as Argentine Ambassador of Popular Culture. The ''[[Boletín Oficial de la República Argentina]],'' under Decree 1876/2012, stated:+
- +
-[...] ''Isabel Sarli is considered a true representative of the national culture, as much for her acting skills in films as for being considered a popular icon of her day and an emblematic figure of Argentine cinema.''+
- +
- +
-In 2010, the movie ''Fuego'' premiered at the Lincoln Center in New York, where it was shown with English subtitles. It was about this premiere that ''Time Magazine's'' critic, Richard Corliss, wrote the review described above.+
- +
-The phrase "What do you want from me?", erroneously taken from the movie "CARNE", has become a catchphrase in Argentina. In fact, the phrase was used in the movie "... And the devil created the men"+
- +
-Film director [[John Waters]] has said that Isabel Sarli's movies had inspired some of his own films. In April 2018, John Waters presented 'Fuego' in Argentina and met Sarli +
- +
-==Filmography==+
-{| class="wikitable plainrowheaders sortable"+
-|-+
-! Year+
-! Title+
-! Role+
-|-+
-| 1958+
-| ''[[El Trueno entre las hojas (film)|El trueno entre las hojas]]''+
-| Flavia Forkel+
-|-+
-| 1959+
-| ''Sabaleros''+
-| Angela+
-|-+
-| 1960+
-| ''India''+
-| Ansisé+
-|-+
-| 1960+
-| ''...Y el demonio creó a los hombres''+
-| +
-|-+
-| 1961+
-| ''Favela''+
-| +
-|-+
-| 1962+
-| ''[[La burrerita de Ypacaraí]]''+
-| +
-|-+
-| 1962+
-| ''[[The Female: Seventy Times Seven]]''+
-| Cora / Laura+
-|-+
-| 1964+
-| ''[[La Leona (film)|La leona]]''+
-| +
-|-+
-| 1964+
-| ''[[La diosa impura]]''+
-| Laura+
-|-+
-| 1964+
-| ''[[Lujuria tropical]]''+
-| +
-|-+
-| 1965+
-| ''La mujer del zapatero''+
-| +
-|-+
-| 1966+
-| ''La tentación desnuda''+
-| Sandra Quesada+
-|-+
-| 1966+
-| ''[[Los días calientes]]''+
-| +
-|-+
-| 1967+
-| ''[[La señora del intendente]]''+
-| Flor Tetis+
-|-+
-| 1968+
-| ''[[Fuego (1969 film)|Fuego]]''+
-| Laura+
-|-+
-| 1968+
-| ''[[Carne (1968 film)|Carne]]''+
-| Delicia+
-|-+
-| 1968+
-| ''La mujer de mi padre''+
-| Eva+
-|-+
-| 1969+
-| ''Éxtasis tropical''+
-| Monica+
-|-+
-| 1969+
-| ''Desnuda en la arena''+
-| Alicia+
-|-+
-| 1969+
-| ''Embrujada''+
-| Ansisé+
-|-+
-| 1972+
-| ''[[Fiebre (film)|Fiebre]]''+
-| +
-|-+
-| 1973+
-| ''[[Furia infernal]]''+
-| Barbara+
-|-+
-| 1974+
-| ''[[Intimidades de una cualquiera]]''+
-| María+
-|-+
-| 1974+
-| ''El sexo y el amor''+
-| +
-|-+
-| 1977+
-| ''[[Una mariposa en la noche]]''+
-| Yvonne+
-|-+
-| 1979+
-| ''El último amor en Tierra del Fuego''+
-| +
-|-+
-| 1979+
-| ''[[Insaciable]]''+
-| +
-|-+
-| 1980+
-| ''[[Una viuda descocada]]''+
-| Flor Tetis Soutién de Gambetta+
-|-+
-| 1996+
-| ''La dama regresa''+
-| +
-|-+
-| 2007+
-| ''Carne sobre carne''+
-| Herself (archive material)+
-|-+
-| 2009+
-| ''Arroz con leche''+
-| Cameo+
-|-+
-| 2010+
-| ''Parapolicial negro, apuntes para una prehistoria de la AAA''+
-| Herself (interviewed)+
-|-+
-| 2010+
-| ''[[Mis días con Gloria]]''+
-| Gloria Saten+
-|-+
-|}+
==See also== ==See also==
-*Iconic Argentine actresses in the 1961 [[Berlin International Film Festival]]: [[Isabel Sarli]], [[Olga Zubarry]], [[Tita Merello]] and [[Mirtha Legrand]][https://commons.wikimedia.org/wiki/File:Actrices_argentinas.jpg]+*[[Exploitation film]]
- +*[[1968 in film]]
 +*[[List of Argentine films of 1968]]
 +*[[Nudity in film]]
 +*[[Rape and revenge film]]
 +*[[Sex in film]]
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Carne (English: Meat) is a 1968 Argentine sexploitation film written and directed by Armando Bó. It stars Isabel Sarli as Delicia, a worker in a meat-packing factory where she becomes the victim of rapists.

Cast

[[File:Víctor Bó e Isabel Sarli en Carne.jpg|thumb|Víctor Bó and Isabel Sarli as Antonio and Delicia.]]

Critical analysis

thumb|Delicia (Sarli) about to be raped in a truck where she was abducted by her co-workers. Writers Raúl Manrupe and María Alejandra Portela characterized the film as having "black and white footage without any explanation, red as the dominant color and camp carried to its ultimate consequences."<ref name="diccionario">Template:Cite book</ref> Throughout the film, the female body is objectified as "a piece of meat", featuring overlays of images of cuts of meat and Sarli's body.<ref name="DrajnerBarredo15">Drajner Barredo, 2016. p. 15</ref> Writer Tamara Drajner Barredo felt that "this identification of the female body with the meat has as a correlate an identification of the sexual desire with an animalized and irrational carnal desire."<ref name="DrajnerBarredo15"/> This is made explicit in the final dialogue, in which Antonio tells Delicia that they raped her "to satisfy the animal instinct that we all carry inside. But without soul, without love."<ref name="DrajnerBarredo15"/> Bó always maintained that his films dealt with social issues, evident in early films such as Thunder Among the Leaves from 1958 and Sabaleros from 1959.<ref name="DrajnerBarredo15"/> However, this intention of social criticism and realism of his first films was diluted as the director and Sarli acquired national and international recognition, replacing them with traditional melodrama, crime and picaresque, where the erotic scenes "acquired their own autonomy."<ref name="DrajnerBarredo15"/> Nevertheless, in a 1974 interview for magazine Siete Días Bó still claimed that his films "deal with social issues, but since Isabel acts in them, sex has implications in the argument."<ref name="DrajnerBarredo15"/> The social problem depicted in Carne is that of violence; it might even be argued that the film seeks to draw attention to violence against women.<ref name="DrajnerBarredo16">Drajner Barredo, 2016. p. 16</ref> In this matter, Bó stated:

What was inside that truck was not a person. It was meat, nothing but meat. Because if those guys had seen the soul, the suffering of that woman, they would not have done it. I tried to make a parameter, between the meat that we consume every day and the meat as a sexual object.<ref name="DrajnerBarredo16"/>

In addition to violence, love plays a leading role in the film: it appears a common thread that "moves the protagonists to be together, to have sexual relations, to express their desires, and it is also what allows Delicia to move forward despite the rapes."<ref name="DrajnerBarredo16"/> This is explicitly the message that Bó wanted to give with the film, with a text reading at the conclusion: "The true pure love, without concessions, and the goodness of God will triumph over the violence and the wave of terror that invades the world."<ref name="DrajnerBarredo16"/> With Carne, on the one hand, Bó seeks to denounce the violence and drama to which the worker is subjected and, on the other, to exalt the values of family, progress, work and love.<ref name="DrajnerBarredo16"/>

Carne inaugurated a new era of "excess" in Bó and Sarli's filmography.<ref name="Cinemas43">Wolf, Pailler (translation), 1999, p. 43</ref>

See also


Unless indicated otherwise, the text in this article is either based on Wikipedia article "Carne (1968 film)" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

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