En este cartel sugerente, José Meléndez Contreras captura, a través del uso de líneas severas y colores dramáticos, el enojo y la intolerancia que exhiben varios de los protagonistas en la película Intolerancia (1966). La piel verde y los ojos amarillos de la figura sugieren la maldad de sus emociones, y las letras amarillas irregulares que anuncian la película evocan un sentido de urgencia. En la película, Patria Ramírez se muda a un pueblo pequeño en las montañas después de heredar la tierra de su tío. Ella se sorprende cuando se entera de que la gente local, especialmente el amargado Don Chago, la tratan bruscamente y diseminan rumores maliciosos acerca de ella y su esposo: que ellos “no son como nosotros y no comparten nuestra religión,” que Patria le pega cuernos a su esposo, que éste “tiene un genio de los mil demonios.” Cuando ella aprende que la intolerancia del pueblo viene de un viejo malentendido con su tío, Patria trata de reparar su reputación y poner las cosas en claro. A medida que puertorriqueños de diversas procedencias entraron en más contacto unos con otros, la DIVEDCO, a través de sus cuentos y películas didácticos enfatizó la importancia de tener una mentalidad abierta frente a diferencias religiosas, políticas, y culturales. Como muchas otras películas, Intolerancia fue estrenada en conjunto con un libro de la DIVEDCO. Las ideas, los otros y yo (1966), contiene ensayos relacionados a ésta, con títulos como “Ideas, tolerancia y civilización,” y “Tolerancia no es docilidad.
Intolerancia
1967
José Meléndez Contreras, puertorriqueño, (1921-1998)
serigrafía en papel
18 3/4 x 24 1/4 pulgadas
Intolerance
1967
José Meléndez Contreras, Puerto Rican, (1921-1998)
Screen print on paper
18 3/4 x 24 1/4 inches
In this evocative poster, José Meléndez Contreras captures, through the use of harsh lines and dramatic colors, the anger and narrow-mindedness that are exhibited by several of the protagonists in the film Intolerancia (1967). The figure’s green skin and yellow eyes suggest the wickedness of his emotions, and the jagged yellow letters of the title evoke a sense of urgency. In the film, Patria Ramírez moves into a small mountain village after inheriting land from her uncle. She is surprised to find that locals, especially the embittered Don Chago, treat her rudely and spread malicious rumors about her and her husband: that they are “not like us and don’t share our religion,” that Patria is unfaithful to her husband, and the latter has “a temper like a demon.” When she learns that the town’s intolerance springs from an old misunderstanding with her uncle, Patria works to clear his reputation and to set the record straight. As Puerto Ricans from diverse backgrounds increasingly came into contact with each other, the DIVEDCO stressed, through didactic stories and films, the importance of approaching religious, political, and cultural differences with an open mind. Like many of the films, Intolerancia was released in conjunction with a DIVEDCO booklet.
In this evocative poster, José Meléndez Contreras captures, through the use of harsh lines and dramatic colors, the anger, and narrow-mindedness that are exhibited by several of the protagonists in the film Intolerancia (1967). The figure’s green skin and yellow eyes suggest the wickedness of his emotions, and the jagged yellow letters of the title evoke a sense of urgency. In the film, Patria Ramírez moves into a small mountain village after inheriting land from her uncle. She is surprised to find that locals, especially the embittered Don Chago, treat her rudely and spread malicious rumors about her and her husband: that they are “not like us and don’t share our religion,” that Patria is unfaithful to her husband, and the latter has “a temper like a demon.” When she learns that the town’s intolerance springs from an old misunderstanding with her uncle, Patria works to clear his reputation and to set the record straight. As Puerto Ricans from diverse backgrounds increasingly came into contact with each other the DIVEDCO stressed, through didactic stories and films, the importance of approaching religious, political, and cultural differences with an open mind. Like many of the films, Intolerance was released in conjunction with a DIVEDCO booklet. Las ideas, los otros y yo [Ideas, Others, and Myself] (1966) contains a number of essays related to the film, with titles such as “Ideas, Tolerance, and Civilization” and “Tolerance is not Docility”.