A woman's voice says she was wife to Renzo Franchi and Carlos Gardel (1890-1935), Argentina's great tango singer. People say she's crazy. Her story unfolds. Buenos Aires, 1933: Juana Romero...
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Dostoevsky-inspired drama set in 1900s Prague about a bored arrogant playboy who spends time seducing other men's wives and dueling. He begins an affair with his friend's wife, but falls in love with her. She becomes pregnant. Is it his?
Two young people meet in the 60's as a result of their devotion to John Lennon, and have a recurring relationship during the next thirty years at the oddest of moments, in the most diverse ... See full summary »
Successful actress returns to her family home in rural Austria to visit her ailing father and her sister who spent her whole life taking care of him and her family. The reunion is marked by jealousy, introspection and a secret.
Nora von Waldstätten,
A woman's voice says she was wife to Renzo Franchi and Carlos Gardel (1890-1935), Argentina's great tango singer. People say she's crazy. Her story unfolds. Buenos Aires, 1933: Juana Romero, a seamstress who lives for the music of Gardel, dumps her boyfriend Gustavo for Renzo, a singer who looks like Gardel. She insists that his trio performs Gardel's tangos, which leads to Renzo recording a Ford commercial when Gardel himself is overbooked. The trio, with Joanna in tow, goes on an ill-fated tour of points north. The couple breaks up: she goes home and he tries to get to New York. Fate steps in, and once again he's called upon to pose as Gardel. Then, legend and a bracelet take over. Written by
Carlos Gardel and his friends took the plane when they crashed. in the background appears the name "Aeropuerto Enrique Olaya Herrera" (Enrique Olaya Herrera Airport) which is the modern name. Back in the Thirties, the name of the airport was "Aeródromo de Medellín" (Aerodrome of Medellin) See more »
The sewing between fiction and reality in the story of Juanita Romero relieved a magnificent parade of tangos and a true romantic comedy. The irony of the film, especially of the final sequence with Gardel imitating Gardel, has a strong Borges flavor with the destiny of one being carried through in the other.
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