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The War Starts in Cuba

Name: The War Starts in Cuba
Director: Manuel Mur Oti
Released: 1957
Duration: 107 min

Representation Score

2.6/10

Limited

1957

Director

Manuel Mur Oti

Runtime

107 minutes

Average Rating

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New Showbiz Analysis

The film centers on social identity and class through a character-driven narrative. While it explores the complexities of identity via the cliché of twin substitution, it remains anchored in the social norms of its era. The narrative offers a nuanced look at women's ability to drive the story, as the sisters actively manipulate their circumstances. However, this ability to act is used to navigate existing hierarchies rather than to dismantle them. Ultimately, the film lacks a broad perspective on diversity. It prioritizes individual social climbing over a critique of the colonial or patriarchal structures present in the 19th-century setting.

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Category Breakdown

Does The War Starts in Cuba have LGBTQ+ representation?

Minimal

The film does not include any LGBTQ+ identities. The plot revolves around traditional romantic and family structures typical of 1950s cinema.

How does The War Starts in Cuba portray gender?

Fair

Female protagonists take charge of the plot through strategic deception and social maneuvering. Juanita defies the damsel-in-distress cliché by using her intelligence and performance skills to navigate social hierarchies.

How racially and ethnically diverse is The War Starts in Cuba?

Limited

The story focuses almost entirely on Spanish characters. There is no indication of Afro-Cuban perspectives despite the 1898 Cuban setting.

How does The War Starts in Cuba represent religion and culture?

Limited

The story operates within traditional Western social structures. It emphasizes class mobility and the sanctity of marriage without challenging established social hierarchies.

Does The War Starts in Cuba include disability representation?

Minimal

There is no information available regarding the portrayal of physical or neurodivergent identities in this film.

Present on Screen

The film provides moderate ability to act to female characters who drive the plot through strategic deception.
The use of identity substitution offers a critique of the superficiality of class and marital status.

Limited or Absent

The narrative lacks racial diversity and fails to include Afro-Cuban perspectives within its colonial setting.
The story remains tied to traditional social hierarchies and lacks queer representation or systemic critique.

Official Synopsis

Year 1898. When war broke out in Cuba, Juanita, a beautiful variety singer without much luck, decides to return to Spain when she discovers that her twin sister Adelaide has married the governor of Badajoz. Adelaide is capricious, vain and embarrassing, the opposite of Juanita. However, as the girls are physically identical, the singer intends to take full advantage of this situation.

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