Her desire to return to the island may be of a personal reckoning, a resolution to her family’s legacy in one way or another, or a way for her to discover herself and become free from the thankless burdens she’s shouldered in white society as a mother, a landowner, and a wealthy woman since. The last one claimed her parents and left her in the hands of the natives for a period of time, and it’s obvious that it’s sparked a sense of rebellion in her. The island has been in her family for generations and survived a half dozen native uprisings to this point. White audiences may naturally assume that voodoo is the only thing that could draw Juanita back to San Christopher– Perez certainly believes it is– but it’s easy to watch the movie and assume that dark magic plays no part in her desires. Juanita’s arrival represents a change in the balance of power, perhaps conclusively. As the only white man on the island and by far the richest person, he keeps himself in a palatial fortress while most of the natives are still stuck in grass huts. Juanita, Nancy, Gail and Nancy’s nursemaid, Anna, arrive on San Christopher to a celebration. However, Stephen may be on to something– the plantation’s supervisor is murdered before he can warn Stephen to keep his wife away. Gail’s got a problem of her own, though that has to do with her less-than-secretarial feelings for her boss. To keep Juanita and their daughter, Nancy, safe, he sends his private secretary Gail along with his wife. Stephen’s a big chinned, big hearted, big businessman. She wants to go back to San Christopher, but her husband is skeptical. Having grown up on her family plantation in the Caribbean, Juanita often finds herself banging the drums as she heard the natives do in her childhood. She has a nice husband and a beautiful daughter, but life in their upscale New York penthouse seems to be suffocating her. Mostly because he hasn’t asked me.”īlack Moon: A Thin Line Between Love and Hate
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