Director Tristan Coen tends to insert his opinions into the documentaries he is busy making, just as French directors do, who prefer to remain neutral and content with presenting the facts as they are, leaving the audience to say the final word on what he sees with his eyes and his foresight. It seems that Quinn went further when he borrowed – consciously or unconsciously – Roland Barthes’ theory that “the birth of the reader” necessarily requires the “death of the author”, but he replaced the word “reader” with the spectator and “the author” with the director, so it became “the birth of the spectator.” necessarily necessitate the death of the director.
How will we, the viewers, evaluate Tristan Quinn’s movie entitled “Fidel Castro.. America’s Enemy”, and did the director really stand aside and did not put his nose into the battlefield of small and big issues that established the body of the film and formed its deep internal structure?
There is no doubt that Quinn, like any successful director, relies on form and content, and what we mean by form is the method used by the director in building his documentary film based in its entirety on the “talking heads” technique that talks about Fidel Castro, and evaluates his struggle, political and intellectual experiences. The director also reported from archival photos covering the era of a century or more, to reveal to us Fidel’s childhood and youth, his youth years and the stages of his intellectual development, which transformed him from the son of a wealthy family into a strong fighter who did not hesitate to attack the military barracks that dictator Batista broadcast in all Cuban cities. By it, we mean the entirety of the main and sub-themes that were organized in a visually woven pattern from the beginning of the film to its end.
Although some documentary directors bet on the aesthetic of the image, as is the case in some nature films, others rely on the content and place it at the forefront of their main concerns, as if this type of documentary directors want to say that they are concerned with the idea before the image, and with the linguistic discourse before the cinematic language Tristan Quinn combines both linguistic and visual discourse.
There is no doubt that the content of this film is broad and deep, as it does not focus only on the biography of Fidel Castro, but is fragmented in different directions that touch on almost everything, starting with history, passing through the political, social and economic aspects, and ending with local, regional and global wars.
The revolutionary leader.. Ghazal turned into a runner
A discreet critic might search for this film’s complex or textual dominance and find nothing better than Fidel Castro’s “Condemn me, it doesn’t matter, history will forgive me.” Perhaps the importance of this sentence as a “basic theme” of the film addresses the hypothesis that we presented at the beginning of this article, and ultimately proves the theory of “birth of the spectator,” who will decide everything once he finishes watching this movie, which rises to the level of a truly irrefutable document.
“Fidel Castro: America’s Nemesis” contains a hegemonic theme no less important than its predecessor, for Castro had staunchly antagonized the American administration, and he did not bow to all the imperialist storms that blew upon him over the course of five decades, while the American people looked on To Castro as a hero and revolutionary fighter before he came to power, even then US Vice President Richard Nixon also believed that Castro was a “great leader”, but this flirtation did not last long, as it was soon replaced by a despicable hostility that reached the level of conspiracy, assassination attempts and armed invasion in order to The overthrow of the new dictator who kidnapped the island and those on it in the fourth day.
Readers may know many things about Castro, they have read his biography and watched all the documentaries made about him, but they are always looking for exciting information that has been withheld from them for fifty years, and perhaps the film provides some of this hidden information about him personally “as the fruit of an illegal marriage.” At first, but his parents took care of the matter and later strengthened him with official papers, as well as his love life, which culminated in one marriage to Marta Diaz Barlat, who bore him Fidelito, but he divorced her while he was in prison when he realized that she was related to the regime of dictator Batista. As for his second relationship, it is with Celia Sanchez, who was his right arm, his secretary, and his secretary, but the voice narrator in this film describes this relationship as “marriage-like”, and in the same context, the director invites us, as organic recipients, to search for the nature of the relationship that linked Castro to his mistress, Natalia, who gave birth to him His daughter, Alina, who fled Cuba due to the father’s dictatorship and repression of opponents of his authoritarian regime.