In a Gypsy village, the fathers of Candela and José promise their children to each other. Years later, the unfaithful José marries Candela but while defending his lover Lucía in a brawl, he... See full summary »
A group of flamenco dancers are rehearsing a very spanish version of the Prosper Merimee's drama. Antonio (the coreographer) falls in love with Carmen (the main dancer). Their story then ... See full summary »
Laura del Sol,
Paco de Lucía
Ana is an equestrian sharpshooter for a one ring circus in Madrid for a week. Marcos is a reporter doing a Sunday supplement piece. He interviews her and she invites him to dinner with the ... See full summary »
The movie tells the story of a family of commediants that work in the towns of Spain during the 40's and 50's. Life gets very taugh for them since they cannot compete any longer with the ... See full summary »
In a Gypsy village, the fathers of Candela and José promise their children to each other. Years later, the unfaithful José marries Candela but while defending his lover Lucía in a brawl, he is stabbed to death. Carmelo, who secretly loves Candela since he was a boy, is arrested while helping José and unfairly sent to prison. Four years later he is released and declares his love for Candela. However, the woman is cursed by a bewitched love and every night she goes to the place where José died to dance with his ghost. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
[Under the spell of the ghost of her dead husband José]
He's calling me. But I don't want to go! He's chasing me. I'm too weak. What can I do?
Calm down. Calm down.
What can I do, Carmelo?
Let's leave this place.
And go where?
Anywhere far from here.
He'll follow us everywhere, to the ends of the earth... What can I do?
See more »
Formalismo, that school of Hispanic literature that emphasizes form as function, or form over function, has little to do with Saura's EL AMOR BRUJO. This is Saura's final work in his flamenco trilogy that began with BODAS de SANGRE and includes CARMEN. As with those two films, Saura bases this cinematic ballet on a previous work, Manuel de Falla's EL AMOR BRUJO. The other two films in the trilogy were based on Lorca's BODAS de SANGRE and Merimee's and Bizet's novel and opera, CARMEN. These three classical works are not examples of formalismo. Rather, they are prime examples of both the realistic and impressionistic schools of literature which under the creative mastery of Saura become sensual re-creations of love, passion, betrayal, and death. The love stories here supercede form and attain a thematic content worthy of the great literary works they portray. The starkness of the set is for symbolic purposes and not for form nor for function. The dilapidated, dusty set represents the emptiness of the soul that has lost great love, or has been deceived by a bewitching love. The set takes on color when Candela dances the Fire Dance, and again at the end when Lucia sacrifices herself to be the eternal lover of the bewitching ghost of Jose, thus setting Candela free from his cursed memory. Saura never lets us forget the tension between reality and fiction as the dawn rises on a new day over a theatrical set free of obsessions with death and love that bewitches the lover.
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