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Blood Wedding (1981)

Bodas de sangre (original title)
Group of dancers put Lorca's 'Blood Wedding' on stage, the tragic play about a married man who is still in love with his ex girlfriend, and tries to get back to her despite her planned wedding.

Director:

Writers:

, (play) (as Federico Garcia Lorca) | 2 more credits »
Reviews
4 wins & 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
...
Cristina Hoyos ...
La Novia
Juan Antonio Jiménez ...
El Novio (as Juan Antonio Jimenez)
Carmen Villena ...
La Mujer
Pilar Cárdenas ...
La Madre
El Güito ...
Cuerpo de Baile
Lario Díaz ...
Cuerpo de Baile
Enrique Esteve ...
Cuerpo de Baile
Elvira Andrés ...
Cuerpo de Baile
Azucena Flores ...
Cuerpo de Baile
Cristina Gombau ...
Cuerpo de Baile
Marisa Neila ...
Cuerpo de Baile
Antonio Quintana ...
Cuerpo de Baile
Quico Franco ...
Cuerpo de Baile
Candy Román ...
Cuerpo de Baile (as Candy Roman)
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Storyline

Group of dancers put Lorca's 'Blood Wedding' on stage, the tragic play about a married man who is still in love with his ex girlfriend, and tries to get back to her despite her planned wedding.

Plot Summary | Add Synopsis

Plot Keywords:

dance | flamenco | based on play | See All (3) »

Genres:

Music

Certificate:

See all certifications »
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Details

Country:

|

Language:

Release Date:

9 March 1981 (Spain)  »

Also Known As:

Blood Wedding  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.33 : 1
See  »
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Did You Know?

Trivia

In 1968 it was announced that Anthony Quinn would star and direct this for MGM. See more »

Goofs

At the 23 minute mark, a very large, directional boom-microphone enters the upper left portion of the screen, lingers noticeably and then is removed. See more »

Connections

Followed by Carmen (1983) See more »

Soundtracks

La nana
Performed by Marisol
See more »

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User Reviews

 
Murmurs of blood before mirrors
29 June 2013 | by (Greece) – See all my reviews

I am drawn to dance films, first for the dance itself, I marvel at how the human body can turn itself into visual music. But also for what dance can signify in a cinematic sense: the embodying of sense in form, the visual flow of consciousness, but where the camera is one of the dancers and wordlessly conveys whole essences in the space of what we see.

Here, I like the idea of centering the dance in the ordinary life that gives rise to it, so in the same flow we can pick up both improvised life and meticulous abstraction. We get the gathering of the troupe and preparations, the putting on of make-up and dressing-room small talk, the practice and rehearsal with its mistakes, and then a full dress rehearsal of the play instead of a big show.

My gripe is that so much more could've been made on the weaving of realities. We have a 'real' first half, but we're not immersed long enough to form connections. The feel like we are eavesdropping could be carried in the actual danced narrative, which is about secrets and watching. The energy and choreographed spillovers in the camera could be more rigorous, the flamenco more passionate. Imagine a mistake in the flow like in the first rehearsal, but they dance through it: how do we accommodate damage, chance, spontaneity?

As it is, there's too much theatric symmetry for me to like—not enough that is broken or alive. But at least the last scene is pretty amazing.

It's a knife fight between men for the eyes of the woman danced in slow-motion—the mirrored poise and grappling of pride mistaken as love, the arrested flow playing to the desired spectacle of manhood both by us and in the play, the ballet of camera singling again and again the knife, the woman's muted mimicked and impotent horror of watching. It's a lovely scene that I'll keep with me, a sort of visual carving in emotional time.


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