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 »
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Fernando Fernán Gómez,
José María Prada
Alexandre, a TV reporter, is working for a few days in a border town, where a lot of refugees from Albania, Turkey and Kurdistan are packed in. Among them, he notices an old man and thinks ... 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
[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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As an avid fan of classical music, ballet, opera, I am, more often than not, confounded by the poor quality of films based on these genres. If they're not "dumbed down," they are "interpreted," beyond recognition, or simply a vehicle for the director to shout: "look at me! I'm DIRECTING!"
But Carlos Saura has placed the story (full of passion, fire, lust, longing, love, sin and redemption) well ahead of his own ego. He simply allows the story to be told through dance, music and sparse dialogue.
Add to this the quality and nature of the choreography where again, we are simply allowed to experience the story: the dance, and its appropriateness to the subject matter tells us all.
Musically, it is almost, also, perfect. My one reservation lay in some acoustically "awkward" moments that render de Falla's critical orchestration less effective. I will not name them, in the hopes that the reader will not notice them and therefore, not be disappointed.
Nevertheless, the music is brilliant, and these three elements of form work together for a powerful, moving, and thrilling experience. As music with dance creates an experience that is more than both, this creation is much more than a film.
See it with a loved one. Or alone at night with a glass of Fundador...
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