While dismissing her point of view, it also takes her absolutely seriously -- her presentation of the 'facts' often makes her seem ridiculous, but at the same time beyond criticism.
Imelda (2004)
Tomatometer
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Reviews Counted:34
Fresh:32
Rotten:2
Average Rating:7.3/10
Runtime: 1 hr 43 mins
Genre: Education/General Interest
Synopsis: The infamous widow of Philippine dictator Ferdinand Marcos stars in her own documentary, blithely shrugging off criminal allegations and defending her ostentatious spending habits as "giving the... The infamous widow of Philippine dictator Ferdinand Marcos stars in her own documentary, blithely shrugging off criminal allegations and defending her ostentatious spending habits as "giving the poor people someone to live through." Filmmaker Ramona S. Diaz follows Imelda's progression from local beauty queen to Jackie Onassis-style icon, to money-mad diva who collected jewels and over 40,000 pairs of shoes while her people starved. Through it all Imelda never loses her sense of detached humor. Even when discussing the attempt made on her life, she can only lament the ugliness of the bola knife her attacker used to stab her. In crosscutting footage of Filipino slums, riots, and jailhouses with scenes of Imelda opening opera houses or receiving honored guests like Ronald and Nancy Reagan--along with interviews with friends, family, and Imelda herself--a portrait is revealed of a complicated, interesting lady who manages to live in a state of blissful denial even after being tried for her crimes against the people of her country. In providing such a witty look at a corrupt political figure, IMELDA gives its subject a podium tall enough to enable her ascension to the camp ranks of Joan Crawford, Leona Helmsley, Tammy Fae Baker, and Zsa Zsa Gabor. The film features great music by Grace Nono and Bob Aves. [More]
Starring: Imelda Marcos
Starring: Imelda Marcos
Director: Ramona S. Diaz
Director: Ramona S. Diaz
Producer: Jam Bonoan, Anne Del Castillo, Joji Ravina
Composer: Bob Aves, Grace Nono
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Reviews for Imelda
When a filmmaker can get Imelda Marcos, once one of the 10 richest women in the world, to pull out a Sharpie and draw a Pac-Man, she's alright by me.
Imelda is a fascinating documentary about the glamorous wife of Ferdinand Marcos whose power and wealth have insulated her from the suffering of her people.
At its most acridly useful when comparing the former first lady's recollections with others' less sanguine memories.
Where with another person you'd want to stop and argue with the patently fictitious assertions, there is something mesmerizing about Imelda's complete conviction
[Documents] a once-in-a-lifetime development of a certain personality type, the result of which isn't as simple to pin down as we'd expect.
Mostly it's Marcos' mysterious sway over those who stood to lose the most from her power, coupled with her amazing inability to face that fact, that makes Imelda maddeningly fascinating.
The sole conclusion you can make at the end of Diaz's repetitive film is that Madam Marcos is as mad as a hatter.
In addition to being a shrewd character study, Diaz's sharply assembled film reminds us that charm can be as toxic as anything else when it comes to acquiring, holding and abusing power.
When she's not babbling about the weird symbological system that rules her personal cosmos Imelda is an entertaining storyteller, vividly describing a life that became a national embarrassment and a camp legend.
Imelda is not just in a league of her own, but in a universe of her own.
'When they went to my closet they found shoes, not skeletons,' Mrs. M tells Diaz. Entertaining as it is, Imelda seems all too willing to take her at her word.
As a personality study Imelda is a devastating portrait of how power begets self-delusion.
With the help of Marcos herself, the director gives us a picture of pride and power that might be called a vanity project if not for her gift at leavening Marcos' remembrances with more biting material.
Although the fact that Imelda does most of the talking begins to feel like election year rhetoric or just plain propaganda, there's something perversely fascinating in listening to such sincere self-deception.
An open-eyed biography of a woman who ranks among the vainest in modern history, and who -- from the evidence she provides in numerous interviews -- could be a case study of self-delusion and denial.
With the qualification that the main perspective here is offered by Imelda herself, this workmanlike production does shed some interesting light on one of the more prominent female world figures of the last half of the past century.
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