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
As a hall fills with performers, a narrator says that flamenco came from Andalucia, a mix of Greek psalms, Mozarabic dirges, Castillian ballads, Jewish laments, Gregorian chants, African ... See full summary »
La Paquera de Jerez,
The story of Salomé told as one of extreme love and vengeance. A director prepares a troupe of flamenco dancers for a performance. He summarizes the story and describes his spring for the ... See full summary »
Paulino and Carmela are husband and wife, troubadours touring the countryside during the Spanish Civil War. They are Republicans, and with their mute assistant, Gustavete, they journey into... See full summary »
In Madrid, the orphan sisters Irene, Ana and Maite are raised by their austere aunt Paulina together with their mute and crippled grandmother after the death of their mother and their ... See full summary »
When the single middle-aged Luis travels from Barcelona to bury the remains of his mother in the vault of his family in Segovia, he is lodged by his aunt Pilar in her old house where he ... See full summary »
José Luis López Vázquez,
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
[Carmelo and Candela have come to Aunt Rosario so as to get her advice on how to deal with the ghost of José who keeps tormenting Candela]
I was expecting you two. There's only one thing to keep the dead from returning: FIRE!
[She points her finger forcefully at a blazing bonfire]
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Impeccably choreographed and imaginatively stylized, El Amor Brujo, the final film in Carlos Saura's Flamenco Trilogy, stands out for the brilliance in which it captures the dark mood of the gypsy world through sensual flamenco dance. The film features the complete score of Manuel de Falla's ballet including the famous Ritual Fire Dance, Cancion del Fuego Fatuo, and the Dance of Terror. It is also enhanced by additional gypsy songs in the Andalusian dialect performed by characters in the movie. Set on an elaborate stage representation of an Andalusian shantytown, Saura brings back the cast from Carmen in much different roles but still choreographed by Gades.
The film tells the story of bewitched lovers, reaching each other through the veil of death. The opening shot provides a panoramic view of the sound stage with the sky a mélange of changing colors to fit the mood. Candela (Christina Hoyos) and José (Juan Antonio Jimenez) are promised to each other by their fathers when they are children, illustrating the stifling rituals of the gypsy village and presaging the inevitable struggle of the partners to escape their spiritual bonds and reach towards a full expression of their human spirit. When they reach the age of maturity, their wedding, memorably portrayed in song while the bride and groom are lifted to the top of the chorus, we find out that their celebration also has its shadow.
Carmelo (Gades) has always been in love with Candela and José has been lovers with Lucia (Laura del Sol). When José is killed in a knife fight after a visit with Lucia, Carmelo is unjustly arrested and sent to prison. When the narrative resumes, it is four years later and Carmel has just been released from prison. Still in love with the now widowed Candela, his courtship is thwarted by his lover's nightly meeting with José's spirit on the site in which he was killed where she dances with him in a ritual totentanz. When Candela discovers that her husband was unfaithful to her, she asks Carmelo to free her from her haunted meetings and show her the way to the free expression of her passion.
When he visits a village elder and is told "My son, the happiness of some always comes at the expense of others." he knows the direction in which he has to proceed. El Amor Brujo is stunning in the other-worldly mood it engenders but does not recreate the magic of Carmen. Its story, which I found otherwise involving, is extended beyond a satisfactory length, and the lead performers seem too old for their roles. Their dancing, however, is as magnificent as ever and alone makes the film a memorable experience.
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