Alienation and Revolution: Cuba in the 1960’s

The Cuban Revolution is one of the most, if not the most, significant events that shook Latin America in the 20th century. Not only did the Cuban Revolution serve as a catalyst for revolutionary movements across the continent, but it demonstrated the relevance of such movements to the extent that Cuba was highly influential in the decisions the Soviet Union took in the 1960s. Current literature accounts for the effects this had on Cuba and the region but often overshadows the day-to-day life of Cubans during the revolution. Memories of Underdevelopment captures the psychological and ideological disorientation experienced by the Cuban bourgeoisie during the revolution. Sergio, the protagonist, is placed in the middle of a spectrum where one end represents his peers who leave for the United States, and the other represents his day-to-day life in Cuba, where he hopes to see the revolution transform the island. Rather than partially indulging in both ends of the spectrum, he is alienated from both the revolutionary fervor and his peers’ capitalist values. Through him, the movie critiques the failures of both pre-revolutionary and revolutionary ideologies to address the complexities of individual and collective identity. This essay argues, based on archival scenes, interviews, and modern literature, that Tomás Gutiérrez Alea critiques the Cuban Revolution by exploring how its sweeping ideological transformations create a sense of displacement for individuals unable to align with its collectivist ideals. Through Sergio’s alienation, the film examines the psychological and cultural costs of revolution, arguing that societal progress often marginalizes those caught between outdated privileges and new political realities.

Alienation of the Bourgeois Intellectual

Sergio’s disconnection from revolutionary Cuba symbolizes the broader alienation of the bourgeoisie, a class rendered obsolete by the revolutionary transformation of the 1960s. Sergio’s detachment is recurring throughout the film. As a member of the bourgeoisie, Sergio had access to privileges such as education and wealth, yet these same factors made him unable to connect with the new revolutionary ethos. He criticizes and disapproves of his peers who flee, yet still decides to stay and not engage with the revolutionary ideals transforming the island. This estrangement mirrors the historical critique Fidel Castro offered of the Cuban bourgeoisie. In his 1961 interview with Arminio Savioli, Castro dismissed the idea that the middle classes could play a meaningful role in the revolution, calling their contributions irrelevant in a class struggle driven by workers and peasants. Castro’s argument is evident in Sergio’s character, who embodies this irrelevance through his inability or unwillingness to adapt to a Cuba that no longer centers his worldview. His self-imposed isolation reflects the larger alienation of a class rendered obsolete by the revolution’s emphasis on collectivism and material equality. Sergio’s detachment also underscores a more universal struggle with identity during periods of radical change. As Aldo Marchesi notes in his discussion of revolutionary solidarity in Latin America, the Cuban Revolution was not merely a national event but a catalyst for continental unity against imperialism. While young revolutionaries across the region found a shared purpose, Sergio’s fixation on European art, literature, and existential musings demonstrates his unwillingness to look beyond his personal sphere. He critiques the Cuban people for their lack of sophistication, labeling them “underdeveloped,” yet fails to recognize his own stagnation. The archival footage interwoven into the film further illustrates the disconnect between Sergio and the broader revolutionary movement. Montages of Fidel Castro’s speeches and street demonstrations serve as stark reminders of the energy and optimism of the time. In contrast, Sergio’s voiceovers reveal his cynicism and despair, highlighting the widening gap between his individual perspective and the collective experience of Cuba. His intellectual elitism blinds him to the revolutionary project’s potential, leaving him stranded between a past he rejects and a future he cannot embrace. This tension between Sergio’s personal detachment and the revolution’s collectivist ideals encapsulates the broader dissonance between individual and societal transformation.

Revolutionary Ideology and Individual Displacement

Sergio’s isolation critiques the revolution’s inability to bridge its ideals of collectivism with the lived realities of individual struggles and personal alienation. The Cuban Revolution promised to unite Cubans; while it eventually did so in many ways, Memories of Underdevelopment critiques its failure to fully incorporate diverse individual experiences. Sergio’s alienation is not a rejection of socialism but rather a response to the revolution’s inability to integrate the entirety of Cuban society into its project. As Daniela Spenser notes in her analysis of the Cuban-Soviet relationship, the alignment with Soviet-style ideology often marginalized those who did not conform to such a perspective. Sergio’s apolitical stance places him outside this narrative; his alienation reflects not only his personal disconnection but also the revolution’s struggle to include those unwilling or unable to conform. The revolution’s focus on collective progress comes at the expense of individual identity, a tension captured in Sergio’s relationships. His lack of commitment toward relationships, especially with Elena, shows how political loyalty is considered more essential than personal nuance. Elena embodies the vibrancy of the new Cuba, yet Sergio regards her with disdain, constantly comparing her to his notion of “underdevelopment.” Their relationship serves as a metaphor for the ongoing struggle between the elite and the revolutionaries, where neither fully comprehends or empathizes with the other. Michelle Chase alludes to a similar dynamic, pointing out the differences between established elites and revolutionary activists. Unlike Sergio’s generation, which experiences a loss of relevance, Cuban youth—regardless of their class background—become the face of revolutionary change. This generational shift underscores Sergio’s refusal to engage with the revolution as not merely ideological but as a reaction to a social order that has redefined relevance. The film’s nonlinear timeline and sudden transitions reflect the uncertainty and chaos of a society caught between renewal and demise. Sergio’s isolation also serves as proof that while the revolution achieved material redistribution, it struggled to overcome deeply ingrained class and gender prejudices. Sergio’s interactions with women, marked by objectification and disdain, reveal the persistence of pre-revolutionary attitudes. Thus, while Sergio’s alienation is rooted in his personal character, it also critiques the revolution’s inability to reconcile its ideals with lived realities.

Interplay of Personal and Historical Narratives

Through its interplay of personal narrative and historical context, Memories of Underdevelopment critiques the dissonance between revolutionary rhetoric and lived realities, arguing that the promises of societal transformation often mask deeper contradictions. Despite these pitfalls, the film also highlights the possibilities created by the revolution. The film intertwines Sergio’s personal dissonance with Cuba’s political transformation, revealing the tension between intellectual critique and political engagement. Although Sergio constantly complains about the Cuban reality, his refusal to participate in the process of change undermines his legitimacy as a critic. As Herbert Matthews noted in his 1957 report on Fidel Castro, the Cuban Revolution was as much about symbolism as it was about concrete action. Sergio, however, remains disconnected from this symbolism, seeing it as performative. This perspective serves as a catalyst for the viewer to consider the gap between revolutionary rhetoric and day-to-day experiences. The film’s frequent use of close-ups and voiceovers draws the audience into Sergio’s internal world, emphasizing his detachment from Havana’s streets and the vast societal changes unfolding around him.

While the film critiques the failures of both the bourgeoisie and the revolution, it also acknowledges the revolution’s achievements in galvanizing collective action and transforming Cuba’s social order. Ordinary Cubans celebrated the revolution in ways that counterbalanced the personal disorientation of elites like Sergio. Ultimately, Memories of Underdevelopment explores the contradictions and challenges of revolution. By examining the intersections of history, ideology, and personal experience, it offers a nuanced portrayal of a society in transition and an enduring commentary on the costs and possibilities of revolutionary change. 

Footnotes / Works Cited