My Family Page #6

Synopsis: This epic film traces over three generations an immigrant family's trials, tribulations, tragedies and triumphs. Jose and Maria, the first generation, come to Los Angeles, meet, marry, face deportation all in the 1930s. They establish their family in East L.A., and their children Chucho, Paco, Memo, Irene, Toni, and Jimmy deal with youth culture and the L.A. police in the 1950s. As the second generation become adults in the 1960s, the focus shifts to Jimmy, his marriage to Isabel (a Salvadorian refugee), their son, and Jimmy's journey to becoming a responsible parent.
Genre: Drama
Director(s): Gregory Nava
Production: New Line Home Entertainment
  Nominated for 1 Oscar. Another 3 wins & 4 nominations.
 
IMDB:
7.3
Rotten Tomatoes:
85%
R
Year:
1995
128 min
623 Views


Listen to me, both of you.

You always know | what's right for everybody

with your porqueria politica,

but did anyone ask Isabel | what she wanted?

What do you mean, | "What she wanted," huh?

Maybe we should have | made some cafe con leche

and invited the neighbors | over to talk about it?

Papa, we didn't have time to!

Hija, you just messed up | this girl's life

without even asking | her permission, hmm?

Oh, well, they were | going to deport her

without asking | her permission,

and when she got off | that plane,

they were going to shoot her | without asking her permission.

So maybe we should have | just left it alone,

and she would be dead... | all nice and neat.

That's the problem | with life...

it's just so messy.

Does anybody want | any taquitos?

Ha ha!

You young people...

you think no one | has ever lived before you did,

no one knows anything | except you.

Don't you think | I know what it feels like

to be picked up by La Migra | and sent away,

without ever | seeing my family,

without knowing | what will happen?

Do you want to tell me | something about survival?

Well, let me tell you this.

There are certain things | in life that are sacred...

sagradas...

and we don't spit on them,

because without them,

it doesn't matter | if we live or die.

Marriage is something | we don't spit on,

and Isabel believes | that she is married.

She thinks | she's married to you.

Yeah, well, check it out.

I ain't married to nobody, see?

Hey, you said | those two little words.

Hey, who asked you | to butt in, huh?

- And I didn't even bring him cake. | - Y tu te callas.

Ooh, que touchy.

Jimmy, you signed | a legal document.

- Yeah? So what? | - Te fregaste.

So the law believes | that you're married, too.

Yeah, well, the law's | pendejo, carnal.

That was | a political action.

I'm a goddamn | revolutionary.

Ha ha ha!

Look, you...

you're the one that's got to do | the explaining here, hermana,

because I'm never | going to see her again.

I've got some sh*t to do.

One summer night

Doo doo doo...

It was late | when Jimmy got home

from all the sh*t | he had to do.

Chingao.

Isabel was probably | the first person

who didn't let Toni | boss her around.

Hey.

Hey, you got...

you got to go, okay?

- No, I'll go. | - Okay, like, right now.

I'll go, | but I'll be back Friday.

No! No, no! You're | not going to be back on Friday.

You're not | coming back here.

Oh, I must go. | I'll make some breakfast for you.

I don't want breakfast! | I don't want anything from you!

No quiero breakfast.

Well, I don't have time | to talk right now, okay?

I'll be back | on Friday after work.

You're a nice girl, | but we're not married.

I'll see you Friday.

No! No! No Friday!

You can't...

Isabel kept coming back | no matter what Jimmy said,

mainly on weekends and nights | when la senora didn't need her.

Then some things | started appearing in his apartment

that no self-respecting | vato loco

would ever have | in his canton.

Pull the string, | and I'll wink at you

I'm your puppet.

Hey, hey, hey, | hey, hey, hey!

What the hell do you think | you're doing, mujer?

Oldies, oldies... | you always listen to the oldies.

"I'm your puppet. | I'm your puppet."

Who wants to be a puppet, huh? | Okay, here you go.

This is los clasicos, mujer. | Whoa, whoa, whoa!

Oldies, oldies... | it's time to get new.

Come on. | Come on, dance with me.

You dance. You dance.

Come on. | Just try it once. Here.

I don't want nobody | seeing me do this.

Come on.

Come on. Just try it, okay? | Just try it, okay?

Out, out, out.

Out, out.

Out. Very good.

Good, I got it.

Oh, Jimmy!

Oh, my gosh, | hey, I did it.

Come on.

See? Try it with me.

Come on. Please, | just one more.

Come on, Jimmy. | Yes! Yes!

- All right, all right. | - Okay, out.

Out.

Out.

Out, out.

There you go.

Out, out, out, out. | Ha ha ha!

Hey, what are you looking at, | puto, huh?

- What's up? | - Come on. Just...

All right, let's do it. | Put my hand where?

Right here.

Just feel me.

- Yeah, I feel you. | - Okay?

Good morning, guavaberry

Good morning, | good morning...

Yeah! Ha ha ha!

- I stepped on your foot. | - Come on. Just try again.

Come on, Jimmy.

Try.

Okay, okay, I'll try.

Here you go.

See? See?

See?

Yeah, I see.

See? You're doing it.

- Yeah? | - That's great.

Okay, let's see | if I can do it.

Okay, now turn.

Whoa!

Hey, that was nice.

Good morning, guavaberry...

Okay, okay.

There you go!

Good morning, guavaberry

Good morning, | good morning...

Okay?

Si.

Okay?

Okay.

Whoa!

Que viva la raza!

Ey, Simon!

Entonces que

Pues...

Eres mi hombre

Si o no

Te regalo una rosa...

You want to teach me salsa?

Si, vamos.

Come on.

No se si esta desnuda

O tiene un solo vestido.

I got 'em in prison.

Some of my carnales | cut 'em for me.

How is possible?

Well, with anything | that's sharp, you know?

A fork, a piece of broken glass.

But the pain.

Que dolor, no

Not pain... I mean, | not like that.

What do you mean?

It's just...

it's just the f***ing anger.

It just kind of | fills me up, you know?

You know, it just drowns | everything out,

and on the inside, | I feel like I'm burning...

you know, like fire?

And outside, I'm just...

I'm just like a stone.

Like that day | when we robbed the store...

I put my fist | through the glass there,

and I saw all this blood,

but I didn't feel it.

All I felt was the anger.

It's like I'm here | on the outside now,

and I don't give a sh*t | about nothing.

It's like | I'm still in prison.

I'm alone...

and I just...

I just keep hearing | that screaming in my head.

I hear the f***ing screaming.

I know your feelings.

I know them.

I feel them, too.

I go around this big city...

grandissima ciudad...

but I'm alone.

No one know me.

When I was little,

in El Salvador,

los soldados

came at night.

They pull my father out.

They kill him right there...

right there in front of me.

I was... | I was a little girl,

but I see everything.

And then we come here,

and I have no time | to be a child... always running.

I work, work... only work!

And the family...

the family I stay with...

they're happy. | I see them,

but it is their | happiness, not mine.

No one... | no one knows me.

I know you.

I know you, Isabel.

I saw my brother get killed | right in front of me...

just like your father.

And I was just a boy.

I love you. | I love you.

Oh, man!

I love you, babe.

Oh!

Oh, man!

You need me...

and I need you.

Ha ha ha! I know you'll | get in the middle. Get in the middle.

Whoa!

Look at Isabel.

She's five months pregnant,

and she looks so great.

Yeah, they're always | getting pregnant.

As soon as you | get one trained,

teach her some English, | she can answer the phone,

then, boom, she's pregnant.

I can't believe | you just said that.

Gloria, you know it's true.

It's not true!

Isabel's worked for me | for three years.

She's part of the family.

I know that I have to | find somebody else,

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Gregory Nava

Gregory James Nava (born April 10, 1949) is an American film director, producer and screenwriter. more…

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Submitted on August 05, 2018

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