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Christopher Ershov
Christopher Ershov

The Legend Of La Llorona(2022)

Andrew and Carly Candlewood, along with their son Danny, travel from California to Mexico for a much needed vacation. The getaway is not what they think when tales of missing children along with the town legend of La Llorona soon encompassing their trip. La Llorona is described as an evil spirit of a distraught mother who lurks near the water's edge and strikes fear in the hearts of all who see her. The spirit begins to torment the Candlewood family and kidnaps Danny. Along with their resourceful taxi driver Jorge, the family races to save Danny. They must navigate the spirit's power along with cartel thugs that roam the countryside.

The Legend of La Llorona(2022)

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The legend of La Llorona is traditionally told throughout Mexico, Central America and northern South America.[4]La Llorona is sometimes conflated with La Malinche,[5] the Nahua woman who served as Hernán Cortés' interpreter and also bore his son.[6] La Malinche is considered both the mother of the modern Mexican people and a symbol of national treachery for her role in aiding the Spanish.[7]

Stories of weeping female phantoms are common in the folklore of both Iberian and Amerindian cultures. Scholars have pointed out similarities between La Llorona and the Cihuacōātl of Aztec mythology,[4] as well as Eve and Lilith of Hebrew mythology.[8] Author Ben Radford's investigation into the legend of La Llorona, published in Mysterious New Mexico, found common elements of the story in the German folktale "Die Weisse Frau" dating from 1486.[9] La Llorona also bears a resemblance to the ancient Greek tale of the demigoddess Lamia, in which Hera, Zeus' wife, learned of his affair with Lamia and killed all the children Lamia had with Zeus. Out of jealousy over the loss of her own children, Lamia kills other women's children.[10]

While the roots of the La Llorona legend appear to be pre-Hispanic,[5] the earliest published reference to the legend is a 19th-century sonnet by Mexican poet Manuel Carpio.[4] The poem makes no reference to infanticide, rather La Llorona is identified as the ghost of a woman named Rosalia who was murdered by her husband.[12]

The legend has a wide variety of details and versions. In a typical version of the legend, a beautiful woman named María marries a rich ranchero / conquistador[13] to whom she bears two children. One day, María sees her husband with another woman and in a fit of blind rage, she drowns their children in a river, which she immediately regrets. Unable to save them and consumed by guilt,[14] she drowns herself as well but is unable to enter the afterlife, forced to be in purgatory and roam this earth until she finds her children.[15]In another version of the story, her children are illegitimate, and she drowns them so that their father cannot take them away to be raised by his new wife.[16] Recurring themes in variations on the La Llorona myth include a white, wet dress, nocturnal wailing, and an association with water.[17]

The legend of La Llorona is deeply rooted in Mexican popular culture. Her story is told to children to encourage them not to wander off in the dark and near bodies of water such as rivers and lakes alone. Her spirit is often evoked in artwork,[18] such as that of Alejandro Colunga.[19] La Cihuacoatle, Leyenda de la Llorona is a yearly waterfront theatrical performance of the legend of La Llorona set in the canals of the Xochimilco borough of Mexico City,[20] which was established in 1993 to coincide with the Day of the Dead.[21]

The novel Paola Santiago and the River of Tears, the first part of a young adult trilogy by Tehlor Kay Mejia, is based on the legend of La Llorona.[49] Also La Llorona was portrayed by a story, by the TV show called the Grimm.

What The Legend of La Llorona offers in place of quality production value is a sincere retelling of a chilling Mexican folktale. Halfway through the film, a devastatingly beautiful historic retelling of the legend takes place, giving the current timeline stronger roots. The film feels like itself when it lives inside the legend and not the script. And unlike the current timeline, the actors in the past are chewing up scenery and feel more in touch with the soul of the movie. One could even argue that the flashbacks are at the core of what makes the movie worthwhile.

In 2019, two separate adaptations of the Latin American legend of La Llorona were released. The first film to release was part of the ongoing Conjuring Universe called The Curse of La Llorona, which widened the world of Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga) more than ever. The other film premiered on the horror streaming service Shudder, simply titled La Llorona, from Guatemalan director Jayro Bustamente. While the two films could not be more different, why did they happen to occur at the same time?

The Curse of La Llorona was meant to do just that. Most horror franchises have been overwhelmingly white, Jordan Peele only breaking into the space with Black-led horror just a few years ago, and Hispanic leads are just as rare. So while this movie tried to rectify that, it also fumbled its task by having the character Anna, a white woman, at the films center. Despite the major disappointment of not having a Hispanic actor at the helm of the film, the film still drew in many people of the Hispanic community for the legend itself, even if it ended up being the lowest grossing film of the franchise during its release.

While this film in particular arguably failed at delivering what was promised, it perhaps is a small step in the right direction. Horror has always been a subversive genre, and it is time to lean into that more. More stories from other cultures deserve to have a shot. La Llorona has been a legend for centuries, a very famous one at that. And in today's culture of representation, this should have been a home run if it were given the proper treatment.

Unlike the Hollywood counterpart The Curse of La Llorona, La Llorona is a film that has an important message behind it. This much quieter film centers on an elderly war criminal and the family protecting him being haunted by his past, both metaphorically and literally. While the scares take a bit of an unfortunate backseat in this film, the true-life horrors shown here on the indigenous people of Latin America are quite disturbing. In the recontextualization of the famous legend of La Llorona, this film instead does not cast her as the villain of the story, but a victim. The story of a woman drowning her children in a jealous rage is scrapped, instead presenting the story of a woman who was forced to watch her children's murder in an act of genocide by the Guatemalan Military. It is very different from the La Llorona many people grew up with, but it is still a horrific story.

No one knows when the legend of La Llorona began or where it originated. Though the tales vary from source to source, the common thread is that she is the spirit of a doomed mother who drowned her children and spends eternity searching for them in rivers and lakes.

Another legend says that La Llorona was a caring woman full of life and love who married a wealthy man who lavished her with gifts and attention. However, after she bore him two sons, he changed, returning to a life of womanizing and alcohol, often leaving her for months at a time. He seemingly no longer cared for the beautiful Maria, even talking about leaving her to marry a woman of his own wealthy class. When he did return home, it was only to visit his children, and the devastated Maria began to feel resentment toward the boys.

She has been seen along many rivers across the Southwest, and the legend has become part of Hispanic culture everywhere. Part of the legend is that those who do not treat their families well will see her, and she will teach them a lesson.

The Hispanic people believe that the Weeping Woman will always be with them, following the many rivers looking for her children. For this reason, many of them fear the dark and pass the legend from generation to generation.

While working as a copy editor for a newspaper recently, I discovered a wire story about La Llorona. That brought back memories of what happened to me while I was a student at Kansas State University in the early 1980s in Manhattan, Kansas, and led me to your website, where I read more about the legend.

One evening I went to a mobile home that I seem to remember being near a creek or river to visit a couple of my friends who also were attending K-State. As I entered the door, I found them sitting on the sofa, somewhat freaked out. They explained that one of the bar stools had been spinning and hopping around just moments earlier. As they were Mexican-Americans, they wondered whether the La Llorona had anything to do with that incident. They explained the legend to me as I had never heard about it before.

The Legend of La Llorona is another entry in the ever increasing subset of films about the infamous weeping woman. This movie is about a couple who is vacationing in Mexico. When their son disappears, they soon learn it is tied to a supernatural curse. There is nothing wrong with horror movies being familiar. If anything, it is part of their charm. In rare cases, it can even make the film better. The Legend of La Llorona is based off of an urban legend, so there is going to be some crossover with other movies by default.

The newly added mazes include Killer Klowns from Outter Space, which is based on the 1988 cult classic film and will trap guests in a funhouse filled with murderous clown-like aliens; The legend of La Llorona: The Weeping Woman will rise and be on the hunt for children in an all-new maze; Scarecrow: The Reaping pits Mother Nature against the homesteaders as the scarecrows come to life in the cornfields; and inside the Universal Horror Hotel, patrons will have to escape the vengeful spirit of the property owner. 041b061a72


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