From Prada to Nada

The sister on the left never dresses like that. She is in cute but comfy clothes in the whole movie, except for the obligatory makeover montage (which doesn't take). And the sister on the right never works, for shoes or otherwise.

I watched From Prada to Nada with my parents a couple days ago, just in time for Mexico's Independence Day. It's a romcom retelling of Sense & Sensibility, which I didn't know and which made me happy because I love retellings of my favorite books (as long as they're good) and because I had been feeling meh about the movie (my dad talked me into watching it). Really, the title is groan-worthy and riches-to-rags stories with shopaholic girls are so done, but this movie was actually surprisingly good. The representations of the Hispanics/Latinos in the movie were real. Usually it's somewhat cringeworthy, but these were real Latino people saying things Latina aunts or whatever would totally say. This is because the director and the script writers were Hispanic, which pleased me. About 70% of what happened with the two main characters (the Elinor ["Nora"] and Marianne ["Mary"] characters) was just as lame/cringeworthy as you'd think, but overall it wasn't half bad. Was it predictable? Yes. I mean, if you've read S&S you know what's going to happen, obviously. And you could probably go through this movie with a Latino movie cliché checklist (cholas? check. La Migra joke? check. And so on). What I found interesting (besides the rather genuine portrayals of Latinos) was the stuff they added to the sisters' characters. Besides making Mary be all swept up in lurve with Willoughby/Rodrigo, they added the dimension that she wanted to go back to her old way of life in Beverly Hills and get out of East LA/the barrio, making her love of the hot TA more gold-digger-y/mercenary and less romantic. And Nora, instead of secretly loving Edward and then finding out he was engaged the whole time, went the standard "we banter! He likes me but I am scared and Turn My Back on Love!" and you know what happens next. It's interesting how they didn't want Elinor to be the boring perfect one and so they made her storyline more standard romcom. In S&S, Elinor really does nothing wrong while the only thing Marianne does wrong is love recklessly without thinking of propriety or consequences (well, she is quite rude and self-centered too). However, it's like for the movie they didn't want the girls to be that blameless, so they made Mary a gold digger and Nora all obsessed with her 10 year plan. idk. Overall I did like the movie and it made me sad I don't have like twelve Spanish names I can trot out at the drop of a hat (at most I have four but only two are Spanish) or a family that throws huge block parties with salsa music for El Grito where I can dress like Frida Kahlo (but I am always wanting to do that anyway. It's a pity I'm so white-looking). Overall I liked this movie, which you can watch for free on Amazon Prime. 3.5 out of 5 tacos.

Elinor: Uptight Career Woman Who Don't Need No Man (law student version). Can't speak Spanish but tries to learn. Played by a half-Brazilian actress (I was worried for a bit that they cast a white actress until I looked the movie up on IMDb).
Marianne: slutty shopaholic party girl with gold digger tendencies. Can't speak Spanish and tries to deny her Mexican heritage. Played by a half-Venezuelan actress (Carmen from Spy Kids!).
Mrs. Dashwood: dead, obviously was just like Marianne/Mary. Represented by painting.
Margaret Dashwood: axed (not necessary to story)
Mr. Dashwood: Gabriel Sr. models his mustache after Pedro Infante's, dies within the first 8 minutes of movie. Represented by topiary.
Edward Ferrars: Edward Ferris, hot lawyer. White but looks more Mexican than Nora does for some reason (played by Italian actor). Speaks Spanish badly.
John Willoughby: Rodrigo something, hot Mexican TA who turns out to be married and was just using Mary. Well, at least he got her to read a book.
Colonel Brandon: Wilmer Valderrama, hot thuggy vato who is secretly an artist/carpenter with a heart of gold. The above two actually speak Spanish well.
Sir John Middleton: actually became the girls' tia, an awesome lady who with her two comadres is also Mrs. Jennings.
John Dashwood: Gabriel Jr., who turns out to be Gabriel Sr.'s illegitimate son and has daddy issues because his father never acknowledged him, wanting to save his marriage to the girls' mom. A pushover and super wimpy, lets his wife control him, so just like the book.
Fanny Dashwood: forgot her name but she is a right bitch, just like in the book. Blonde WASP.
Lucy Steele: Bitch-in-law's bestie, is set up with Edward and he's engaged to her like immediately. Also white, but interestingly she does no scheming, just passively does whatever "Fanny" says. Is only relevant as an obstacle to Edward and Nora getting together.
Setting: Beverly Hills, East LA
Recurring themes: cultural heritage, importance of family (obvs, that's in every movie with more than one Latino person), Cielito Lindo song

On Habakkuk 2: 18-19

by Doug Groothius

This glamorous gusto for godlets;
this voracious volition for vacuity;
this incessant insistence for idols.

Grasping a fistful of falsehood.
Consuming a stomach-ful of stupidity.
Filling a mind full of maddening mush.

Perform! Oh, you purveyors of nothingness.
Entertain our eyes, fill our years.
Enthrall our ears.
Give life to our living, and
deal the death blow to death.

We made you,
Now re-make us.

Rereading Emma

Mr. Knightley scolds Emma for matchmaking because she is meddling in affairs that don't concern her and causing her friend Harriet to think too highly of herself. Harriet, someone's illegitimate daughter, is too low of a social station to think of marrying Mr. Elton the vicar, while the gentleman-farmer Robert Martin is perfectly all right for her. Mr. Knightley is correct in his opinion of it and in telling Emma what he thinks, but I find it interesting because he sort of does the same thing himself. It is he who gives Robert his blessing to marry Harriet, and it feels like he's upset in half because his own neat matchmaking was ruined by Emma's. Later on in the book, too, he lets or sends Robert Martin to London to meet up with Harriet and propose to her (which she accepts, since she is far away from Emma's influence). Mr. Knightley may possibly lecture Emma about matchmaking and having strong, often selfish opinions about things and people because he recognizes such inclinations in himself.
Emma dislikes Jane Fairfax because she is the ideal accomplished, elegant young lady: excellent at music, genteel, quiet, pale, never speaks out of turn, etc. Emma is "handsome", true, but she is strong-willed, chatty, witty and not afraid to show it, likes to take control, doesn't practice her music or read enough, etc., and she feels a grudge towards Jane for being so perfect and so much closer to the Ideal Young Lady than Emma is. No one else in Highbury brings to light her shortcomings, except Mr. Knightley. The latter and Emma are friends, but a good chunk of their friendship is them bickering, mostly about her character flaws and things she does wrong.
Also, can we talk about how creepy it is that Mr. Knightley has been the Woodhouses' family friend since Emma was a child and was always trying to improve her character and correct her behavior, and professed falling in love with her at thirteen? He tells her this towards the end of the book, and while it is clear he didn't realize it until Frank Churchill came into the picture as a plausible love interest for Emma some months earlier and Mr. Knightley became jealous of him and realized why (and Emma is twenty to twenty-one years old in the book), that's still seriously creepy. He's sixteen years older than her! He's old enough to be her dad, which in itself is creepy enough, but he's known her since she was a child?? Someone I was discussing the book with once said that they'd read something comparing Mr. Knightley's behavior to child molesters/predators who "groom" their child victims into mentally accepting them as partners later on, or just to accept their abuse as not being wrong at all. Like, they groom them into becoming their perfect mate. Uggghhhhhh. I don't think that was Mr. Knightley's intention, obviously, but it's still really creepy and weird.
I read Emma mostly on my Nook and partially from my Barnes & Noble Classics copy. The Nook book is "25 Favorite Novels" in one ebook, which is nice because it was 99 cents, but there are no foot- and endnotes like in the B&N Classics, and I think it can only hold like ten highlights at a time? I'm quite sure I highlighted my favorite passages from P&P and S&S in the ebook, along with Emma, but I can only see/read the latter book's. It sucks. Also, each book is treated as a chapter, and while there are "Book I" and chapter divisions within each book, you can't jump to the next chapter within the ebook book. That sucks most of all. For some reason the place wasn't kept between my Nook app on my phone and my Nook ereader, so that was a pain.
Anyway, I read the introduction to my B&N Classics copy of Emma, which was an exhaustive essay in the awesome English journal article style on Emma and its characters and social aspects, etc. Those are quite interesting, if you like literary analysis and criticism, but I don't recommend reading the introductions (for sure in the B&N Classics books) before you read the novel because they will ruin it for you. Besides, it's nice to go back and get insight on the characters and plot points etc. after you've already read the book. Anyway the person who wrote Emma's introduction pointed out that Emma chose to befriend and improve Harriet and manage her love life because she sees her as an extension of herself. Like, Emma herself does not want to have a love life, partially because she does not think she can due to her codependent father, but she can be involved in Harriet's love life. She treats her like a human Barbie, almost. A love life by proxy. A fascinating discussion of control (Emma must be first in everything) and self-absorption. Emma does annoy me but I think I mainly like her.

I read Silas Marner and it was good, sad yet heartwarming at the end in that sympathetic, melodramatic way of most nineteenth century novels. It was good but from all that I'd heard of George Eliot, I sort of expected more? More fleshing out or explanations or whatever. There was a lot of buildup for Silas getting the little girl Eppie, and then it's just like "flashforward 18 years and Eppie's a gorgeous golden-haired girl!" Like of course she is. But for all that's spent on Silas's life prior to that? No depictions of single-father life? No struggles with raising a little girl on one's hermit/miserly own? And we're just told that Godfrey Cass just like marries his love, just like that? I hate just being told things. Show, don't merely tell! I just feel like there was a lot of potential in the story and with its characters. How did Godfrey convince his wife to marry him? How did she take over the household and get it running well? How did Godfrey live with the guilt of pretending the child wasn't his? I hate just being told stuff after the fact. IDK. I'm used to Dickens and Austen.

Anyway, I'm now reading Grimm's Complete Fairy Tales. I'm of course familiar with and have read most of them, but I like having a complete collection. I bought it at Barnes & Noble last Saturday night. It's not a gorgeous leatherbound book like the Hans Christian Andersen one that I bought at the same time, but the Grimm's was $8 while the other was $20, so. The Grimm's has a lovely wood scene painting as the dustjacket cover, while the HCA one is a gorgeous purple leatherbound one with gold designs. A bit too cutesy to be truly old-fashioned, but it's still nice. The books are uploaded to my LibraryThing (widget in sidebar). Oh, I also bought the fourth season of Ugly Betty on DVD, so now I own the entire show. I will have to watch it one of these days.

Cuentos

Tell me who you are
are you a good witch or a bad witch
neither, you're the other girl in the story
not the love interest (that'd be far too exciting)
you're the girl who sits in dull existence
waiting for the story to be about her
you're the jealous sister, one of the people
in the village or the chambermaid who fetches
the light and perhaps if you are lucky
you'll become the mother (step or otherwise)
of the hero who fulfills the quest

this is something they never told you
maybe you're not the storybook
you're just the bookmark in it