Episode 4: "Todos juntos"
English subtitles https://youtu.be/0jlftQnBHj4
Spanish subtitles https://youtu.be/T-ErtI0YW4w
Especially when PARIENTES A LA FUERZA was broadcast after a reality show, I wondered if any other viewers realized telenovela is intelligent satire of the genre, where strangers living together are gradually voted out of a house or off an island, etc. In Ep. 4 "Todos Juntos", Leti tells her kids there's room in the house for "only one family", not realizing statement may come true in unexpected way, by all becoming united. (For very sharp-eyed, in this episode are dropped a few clues.)
In Ep. 3, "Familia", Yuli tries to think of Hollywood-style couples name for George & Carmen. My guess is one that will fit blended family of the Cruz & Jurados=los CRUZADOS. Literal meaning is translated as "hybrid", implying graft on the Family Tree.
Many examples in this episode of gaps between perception and reality:
"Princess" Paz assumes high handed attitude and orders around Margarita and Mama Rosa like they are servants, when they are actually treating the twins like real members of their future family by feeding them (Marga even scrubbing Tommy's messy face like he was a little boy). After seeing George's children "starving" when he'd assured her he was taking care of them financially, Margarita wonders to Rosa if George is really the person they'd thought he was during their relatively short acquaintance back in San Miguel.
Rosa comments Margarita has "mirada perdida como mumio de Guanajuato" (is staring sightlessly off into space like one of the mummies of Guanajuato). When Marga tells her mother-in-law that something isn't right in the Cruz house, Rosa (slightly misunderstanding) agrees, remarking that in the large garden, there's not a single avocado or lemon tree, and in all the large kitchen, no traditional clay cup--"jaron de barro"--for coffee (I recall in LA MENTIRA that Veronica's favorite aunt Lety--although wealthy, is very compassionate & down to earth-- preferred such a "humble" vessel after her cook served her cafe in one).
Wise mother Rosa advises her daughter-in-law (who's concerned to hear Leti exclaim he's throwing them out in the street) that they don't know why the marriage ended in divorce, and how bad things were between them. Marga worries that "dead" flowers (dried table arrangement) are bad luck, like a crow "cuervo" or a woman asking man to marry her. Although she is elderly, Rosa also is very open minded; when Carmen untraditionally plans to propose to George, mama Rosa tells Margarita, "Son otros tiempos, es otro pais" (other times, another country).
Double standard--Leticia upbraids George for his plans to re-marry just months after their divorce. He points out what a hypocrite she is, having remarried and left with their children to live with stepfather in the same period of time. She accuses Carmen of only wanting to marry George for his money, when in fact Leti herself is trying to get her hands back in her ex-husband's deep pockets after renouncing her legal share to divorce him and quickly marry man who was presumed heir of multi-millionaire. Projecting her own motives on others is all she can understand. As to age difference, see my December 14 post "Do you know the way to San Miguel?" https://pensandoenparientes.blogspot.com/2021/12/do-you-know-way-to-san-miguel.html
Irony: Andy wryly calls his father's ex-wife "dear Leticia" when he tells dad, unfortunately, you can't erase your past with her. "No puedes borrar su pasado con la querida Leticia". When she interrupts him talking with his father, Andy exclaims "Leticia! Siempre alegrandonos nuestras dias, eh?" (Always brightening up our day with your presence). Trying to lighten up the situation when Carmen & George exchange heated words on what she "saw" in (ironically named) family room, Andy calls his father & Carmen "chicos" (kids) like he's the grown-up.
Carmen jumps to conclusions (see footnote on book THE PHANTOM TOLLBOOTH) when witnessing rather annoyed George trying to stop tearful (crocodile?) Leti putting on a scene describing her sufferings in order to persuade him to let the traitorous trio to return. Carmen gets a little tangled when asking George what he would do if he found her holding & at the point of kissing the father of her children "Que harias si me ves a punto de besarme con el padre de mis hijos--que explicacion me darias?" (if you think it thru, George will likely be the father of her children--or if by a strange turn of events, someone else would be, he wouldn't have the right to complain).
When astonished Carmen hears from George that ex-wife Leticia is going to stay in the house awhile, she imagines escenario, asking "vamos a dormer las dos juntas ahi, tu en medio y una y una al lado?! (are we going to sleep together, you in the middle and she and I at either side?!) Brings to mind the poster for famous 1976 Brazilian movie with Sonia Braga, Dona Flor and her Two Husbands. Clue was dropped in Ep. 3 ("confirmed" in Ep. 48 who takes role of ghost-like lover on the side--but for greedy Leti--just so you don't worry all that time.)
References to renowned movies are very fitting in story about Hollywood screenwriter, demonstrating how entertainment permeates our thoughts, world views and beliefs. Keep alert for visual & verbal references to other famous flicks. Respected film writing guru Michael Hauge recommends aspiring scriptwriters watch & study at least one movie per week. Aspiring guionista Juancho mentions telenovelas Betty La Fea (story about "ugly duckling" that also has message about true worth & superficial appearances) and La Reina Del Sur, which was based on book of the same title, inspired by classic novel THE COUNT OF MONTE CRISTO by Alexandre Dumas, a tale also about deceptions.
"Juancho al rescate" looks like Tarzan when he saves Robert from being hosed down like a dog by Leti. (His saying "Vete con papa" (come to papa) may not only be quote from first DIE HARD movie, it also hints how Robert is becoming part of family. When the three younger Jurados follow George up the stairs and Juancho reports via phone to Yuli & Carmen (secretly getting dressed up to propose to George), he sounds like he's in a spy or police drama "el elemento va al cuarto; repito, el elemento va al cuarto" (Subject is going to his room; I repeat, the subject is going to his room).
After George tells Carmen it was her mother who urged him to let Leticia stay, she goes off to confront Margarita (poor George, picturing the scene, helplessly says "oh, man" in English--LOL!) I love how Carmen's boiling temper ("mi ardi!") is expressed by sound of screaming teapot in the kitchen.
Margarita calms her down, quoting Mama Rosa: "el perro viene con pulgas" (more fun than English "comes with baggage"). Rosa says "al necesitado hay que echarle la mano". (How ironic that those from humble circumstances are the ones with bigger hearts and who give more, instead of "upper crust" people such as Leti who try to keep everything for themselves.) Mama Rosa asks Carmen, resentful of Leti's attempts to re-capture George, "cuando te cambiaron ese corazon?. Yo te conosco. Tu no tendrias problema de que ese senora y su hijos vivieren aqui. Lo que pase es que tiene miedo de que te vuelvan a roper el corazon. En este vida el que no arresgo, no gana. (but does that condone gambling like Juancho? Or is all fair in love and war?)
Spanish is not my first language--I'm trying to improve my comprehension with entertainment such as PARIENTES A LA FUERZA. For example, idioms such as Carmen uses in 2nd half of Episode 5, when she tells Andy they started off "con el pie izquerido" (with the left foot--in English, "started off on the wrong foot"), and she wants to start of "con el pie derecho" (right, in two senses of the word).A visual representation of this phrase seems to appear in Episode 4, when Carmen, because she's holding some food in her right hand, offers her left hand to Tommy and Leticia. The latter (love when Yuli calls her Perricia-- female dog?!) switches hands from right to left. Expression in THE BIG RED BOOK OF SPANISH IDIOMS, lists "Tiene mano izquerda" (she's very crafty) which really seems to fit George's wily and conniving Ex-wife. Mom nudges son with her left elbow to get him to play along with her "let's be friendly" act, but Paz doesn't get the memo, ignores Carmen's outstretched hand and stalks off angrily.
Small details may have intentional meanings. Tommy has cross tattoo on his right forearm--don't know if actor had it before, or is temporary for the role to mark him as a "Cruz". Paz often blinks her left eye, which seems to have significance about her ability to see the truth. In "meet and greet" scene, George wears his favorite blue, Lety is mostly in green (envy? money?). Paz has "pretty in pink" coat over green jumpsuit. Tommy's shirt is mix of colors--white, orange, blue, green, yellow--at this point he shows some sympathy for Jurados, but not fully committed to any team. He tells his dad, "the last time I shared a room with anyone was in Mom's tummy with Paz", his twin sister. After Paz moans trio may lose their cars, house, money to "invaders", Tommy is only one who mentions losing their "daddy" to another family. As an afterthought, Paz adds, "that too".
In contrast to George's habitual gruff response to his family's fake smiling performance, Andy tells Carmen "nunca ha visto mi papa asi, tan feliz, tan vivo...esto que siente contigo es diferente. Gracias por devolverle una sonrisa a mi papa." George tells Andy, "mi novia ademas de bella es muy inteligente. Y Andy, ella tiene un corazon el tamanio del mundo. Por eso no quiero perderla". Carmen wears two hoops in her right ear, one in her left, which may relate to double wedding bands. Later episodes imply other associations that seem to fit Leti's ball-like earrings, to be elucidated another time, perhaps. Note Margarita wears gold headband, like crown of a true queen--perhaps indication that she in fact has a heart of gold. Gold medallion Carmen always wears is certainly of Virgin of Guadalupe she prayed to in San Miguel de Allende about finding the right man to share her life with.
In Ep. 1, Carmen tells George her mother raised her with "mano duro--pero mucho amor". Marga chides twins for ordering Maria to carry their luggage--which after all, roll on wheels--saying they aren't "mancos" (one-handed cripples). Able-bodied young expecting to be waited on hand and foot by their elders is a bit much, especially as their new step-father is literally paralyzed. When they complain about sharing rooms with "strangers", Marga says
"Privacidad no existen en familia, compartimos todo". Tommy protests, "voy a compartir mi cuarto, pero en total desacuerdo y descontento". For having to roll his own suitcase, Tommy says he's going to charge Maria, "Te voy a rebajar $20."
Twins declare Marga & Rosa are the best cooks who ever worked there--in contrast to those awful charred peanut butter sandwiches fixed by Leti on which she slaps fancy name "tetrazzini de mani". (Reminds me of classic book From the Mixed-up Files of Mrs. Basil E. Frankweiler : "Nouilles et fromage en casserole"..."why, it's nothing but macaroni and cheese!") A parent's job is to prepare their children to stand on their own two feet and take care of themselves as adults. Rosa tells Marga that twins are "chamacos consentidos" which might be translated as pampered or spoiled, but a weak parent "consenting" or giving in to a child's whims is not in their best interests.
(Highly recommended book Untangled: Guiding teenage girls through the seven transitions into adulthood by Dr. Lisa Damour, can also enlighten adults about their own behavior and raising boys too.)
Tommy confuses slang expression "partir mi mandarina" with "naranja"; both are orange citrus fruits, but I think phrase means to break someone in pieces, thrash. English phrase "marry me" sounds like Spanish "arrime", to take someone into your home out of pity, or applied to unmarried couple, to shack up together. Paz turns her admiring new "roomie" Lara (who wants to become her best friend like Yuli and Carmen are) into a personal assistant, pretending she's too exhausted to unpack and hang up her "high fashion" clothing herself.
Character I admire a lot is Yuli, often the voice of reason. Her temper can flare up, as when at first glance, George and Andy seem to be covering up suspicious get-together with Leticia in family room. Yuli had flirted with Andy, but leaping to her cousin's defense, suddenly berates both men "Bien guapos, bien guapos--para que? Es un desmadre". "Good looking, handsome outside--what for, when inside you're a total mess (or maybe "just sh*t"). She warns them both women will decide, investigate if they are "chivos o marranos" (goats or pigs).
Carmen wonders "que Karma estoy pagando? Su ex tuve "carita de angel" but cheated on her. Yuli corrects her: to everyone else it was clear from miles away that Joaquin "Huele a zorro" (in English might be translated "Stunk like a skunk", but lacking connotation of being "wily" as a fox. Though not explicitly stated, Joaquin was "playing" the trusting singer to benefit financially from her talent. Carmen may be so frank and open herself that it's alien to her mind that someone can be two-faced and devious (like Professor Quirrell literally is in first Harry Potter).
Yuli tells Carmen that George doesn't seem the type to cheat, especially in house where someone could easily walk in anytime and see it happening. She diagnoses that her cousin has "Sindrome de perro patiado" (kicked dog syndrome): Carmen has been cheated on & dumped so many times, she's come to expect it will happen to her in any relationship with a man. (English subtitles translate as "waiting for the other shoe to drop".)
I recognized famous painting in George's study, ROOM IN NEW YORK by famous artist EDWARD HOPPER, depicting couple who seem distant, perhaps bored, ill-at-ease, or unable to communicate (emotions reflected in PALF parejas). Hopper's work has been used by therapists to get their patients to tell stories which may reveal their own personal feelings and experiences. By the way, Hopper's artist wife was his model, manager & basically everything else.
Edward Hopper also has wide influence in popular culture. Wikipedia article on artist says: "Hopper's cinematic compositions and dramatic use of light and dark have made him a favorite among filmmakers". Among examples cited: Alfred Hitchcock's PSYCHO, Ridley Scott's BLADE RUNNER, and Madonna's GIRLIE SHOW. Painting in PALF is probably meant to be a poster version, as original paintings by Hopper are rarely put on market. Highest price for one to date sold for 92 MILLION dollars.
In Tania's office at Orbit Studio, did you notice photo of her and George on her desk where typically is kept pictures of someone's spouse? Note reflection of Tania (overlaying 1950's sci fi-style movie poster of giant eye starring down at tiny woman) when she tries match-making between Clio and Andy with ulterior motives--manager wants to replace Carmen as star of movie and, when newcomer is disposed of, "cast" herself in role of George's next wife. Giant photo behind Tania's "winged" white chair is of woman with eyes obscured. Kurt's office also has wall of photos of people often hiding their eyes...
Paz comments that Carmen's mother & abuela (excellent cooks) are "so un-glamour girls", which I think is actually a compliment, although she didn't consciously mean it that way.
Around the Middle Ages, the term was used for something dangerous, deceptive, unreal. Wikipedia says "Glamour" originally referred to a magic spell, an illusion said to be cast by witches". Re-watching Disney's SNOW WHITE, when evil Queen changes her appearance to an old hag, I thought she's in fact revealing how her soul really looks, not beautiful at all. (Tho I don't think showing one's age is ugly--it's someone's personality that makes them repulsive. When somebody spends a great deal of time and money thinking about and working on "improving" their outward self, makes me wonder if they have anything inside that's worth knowing, or much time to spend on caring for, loving, or helping anyone else.
Juancho's poem may be prophetic; although misspelled, may still be wise: La Berdad es mentira cuando veo tus hojos, Desde que los Hojos me sonrieron yo no supe mas que adoraran. Crossed signals when Rocco tells uncle "ojos" isn't spelled with "h" or "hache" and "verdad" has "un v", perplexed Juancho asks "con u o con v? " Juancho teaches Robert to communicate by blinking his eyes, "once for yes, twice for no". Robert responds to his "request" for applause with widely known sarcastic comment "rolling his eyes". Juancho continues reading: Desde que vi la estrella de sus ojos sonriendome, yo me dije mi mismo lo mismo que tu eres la luz de mis ojos por siempre para siempre."
When worried Carmen wistfully asks George if she will be in his future, he replies lovingly, "You ARE my future". How romantic!
For complete capitulos go to www.Telemundo.com All entire episodes of PARIENTES A LA FUERZA (so far) can be seen with www.NBC.com app
P.S. Humorous word play taken literally--like expression "jumping to conclusions"--is feature of classic fantasy book THE PHANTOM TOLLBOOTH by Norton Juster, "en Espanol, La Caseta Magica" (also turned into theatrical performance whole family can enjoy) which I think is origin of name of Ecker family dog Milo (On official Guy Ecker Instagram page last year are videos showing pup learning tricks like "fetch" and "shake hands". Guy joked "he's well trained--like me").
