Starring: Maribel Verdú, Ángela Molina, Sofía Oria
Antonio Villalta (Daniel Giménez Caco) is a popular bullfighter in Seville. One day during a performance, he throws his montera to his pregnant wife, Carmen (Macarena García), taking an eye off of the bull that gores him. The injury leaves him crippled but the stress causes Carmen to go into labour and die in childbirth. The surviving child (Oria, Verdú) moves into the home of her now-reclusive father and cruel grandmother (Molina) during her childhood, only to break free as an adult and meet a troupe of bullfighting dwarves.
The success of the French/Belgian silent film The Artist in 2011 has lead to a renewed interest in silent cinema, so it's unrealistic to not expect some films to come out and catch the trend. It's highly unlikely that without The Artist, Blancanieves would've ever been made and the film is most definitely riding The Artist's coattails (not only as an homage to silent cinema, but the lightly comic touch and that Ángela Molina looks for all the world like an older version of The Artist's Bérénice Bejo). However, the world should be glad that Blancanieves was made. A modern Hispanic silent movie that adapts Snow White And The Seven Dwarves (as well as sprinkling other fairy tales) and transplanting it into 1920s bullfighting? It is exactly as mad and wonderful as it sounds. A fairy tale it may be, but be warned that this is not a film for lovers of cuddly animals and bullfighting is a controversial path to take. The film also sometimes fails to keep up its silent cinema charade although there are some nice subtle touches, like the occasional crack around the frame, making it look like an aged and damaged negative. The score is also an absolute joy with some beautiful Spanish guitar-inflected pieces. A fairy tale with a twist, Blancanieves really deserves to be seen by a larger audience than it will probably get.
No comments:
Post a Comment