General Pinochet, whose CIA-backed coup overthrew Salvatore Allende’s democratically elected Socialist government on September 11 1973, was almost held accountable for his crimes when he visited the UK in 1998. He was let go on health grounds: the ruling classes certainly look after their own as there was nothing wrong with him! This film recounts how Pinochet was deposed: a Referendum, as to whether he should continue as President, in 1988 imposed on Pinochet by his western backers. They wanted him to have the veneer of democratic respectability but were surprised by the victory of the ‘no’ vote. No recounts how the ‘no’ campaign was successful and uses footage from both the actual campaigns and the brutality of Pinochet’s troops.
From a naive perspective it is surprising that many would vote ‘yes’ for a military dictatorship but that neglects the fact that many, in the middle class, had benefited from Pinochet’s rule. So it’s self-interest over democratic ideals and fairness; a ‘principle’ that goes some way to explain why many voted for the Conservatives in the May UK Election. Democracy is a fig-leaf that is useful to gain consent (‘hegemony’) from the masses and if people dare to misuse their vote – as in the Greek Referendum on the economic destruction of their country – they will be ignored; in the Greek case by the EU and European Bank (the World Bank at least acknowledges that Greece can never pay back its debt under the terms it’s been given).
It struck me also how Pinochet’s Minister responsible for the ‘yes’ campaign referred to his opponents as ‘fools’; anyone who opposes their ideas must by definition, they think, be idiots. Supporters of Jeremy Corbyn’s campaign, for the leadership of the Labour Party, have been characterised in similar ways. Corbyn is challenging the status quo and has a high level of support, this the Establishment cannot tolerate (because it means that they aren’t necessarily right) and cognitive dissonance kicks in, so they start ridiculing what is opposing them as they can’t rationally argue against them.
Back to the film: obviously well worth seeing but Larrain’s direction did irritate me. He seemed to delight in shooting into the sun presumably to give the film a documentary feel with its ‘uncomposed’ shots. It was shot on 1983 U-matic video camera (in the 4:3 ratio) which means the image quality is poor; that didn’t bother me. Gael Garcia Bernal, as the ‘heroic’ ad exec (that phrase doesn’t occur very often), is brilliant as usual. His appearance in a film, in itself, seems to guarantee quality.