Like Water for Chocolate

A critique of the film Like Water for Chocolate

The novel Like Water for Chocolate by Laura Esquivel has won many hearts as well as awards when first published in 1989 in Spanish and 1992 in English. In the novel Esquivel encompasses us with the sweet aroma of the imagination and creativity. Unfortunately, this can not be said of the feature film that was based on the book. Como agua para chocolate was released as a Mexican language film in 1993 featuring English subtitles. Although the subtitles were provided to help the Spanish-illeterate to understand the film, it was just as confusing to follow the plot with them.

Like a bad cook standing behind his/her cuisines, Esquivel’s integrity is questioned here. Although directed by Alfonso Arau, the screenplay was provided by Esquivel herself. Unfortunately, Esquivel should have quitted while being ahead instead of marinating the novel into a tasteless movie. Most books thrive on the reader’s imagination which quickly gets digested away when it comes to the widescreen. Although some films have complimented books very well (Jurassic Park, the Green Mile, etc.) Como agua para chocolate sports a genre of simply “Bad” and ends up giving the viewer a bad taste in

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The film goes on with lackluster performance and spoilers that makes one lose their appetite. In María De Valdes’ critique, she points out the significance of the 100-mile blanket that Tita literally dragged with her, saying it symbolized the many days and nights she spent being miserable. Unfortunately for her though, she is forbidden to wed but instead she must care for her mother until her mother dies. This occurs at the better second-half of the novel and thus the reader is saved the “shocking news” until after the novel as a whole is developed more completely. And what about the watermelon scene? The film neither informs the reader that the watermelon was there as an aid on hot nights or that Pedro gained permanent residence on the ranch. Although one can strongly argue, the knowledge of Gertrudis’ origin was perhaps the turning point in the book where Tita, upon finding out, stands up to her mother. Tita, the central character in the novel and film takes refuge in the kitchen where her ability to cook is glorified. Rather, the director, as if in hopes to gain more sales at the box office, has Pedro popping up conveniently to satisfy his teenage-instincts.

Perhaps the novel itself is to be blamed. Such scenes as Gertrudis’s setting fire to the bathroom due to her “hot condition” doesn’t quite inform the viewer the central theme of Tita’s cookery. But in the novel the ghost appears after Mama Elena dies from malnutrition. Perhaps what can be blamed for the success of the novel is that the novel had no limitations to the reader, rather, the reader directs his or her screenplay in his/her head with an unlimited amount of budget required. Although it seems as if Romney is less understanding than De Valdes, Romney does have good points about the film. De Valdes argues that this helps depict Tita as the Cinderella of the movie; having Mama Elena’s ghost haunt her.

Approximate Word count = 1232
Approximate Pages = 5 (250 words per page double spaced)

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