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El amor brujo (1986)

PG | | Music, Drama | 23 December 1986 (USA)
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 »

Director:

Carlos Saura

Writers:

Gregorio Martínez Sierra (libretto) (as Martinez Sierra), Carlos Saura (screenplay) | 1 more credit »
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2 wins & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Antonio Gades ... Carmelo
Cristina Hoyos ... Candela
Laura del Sol ... Lucía
Juan Antonio Jiménez Juan Antonio Jiménez ... José (as Juan Antonio Jimenez)
Emma Penella ... Tía Rosario
La Polaca ... Pastora
Gómez de Jerez Gómez de Jerez ... El Lobo / Cantaor (as Gomez de Jerez)
Enrique Ortega Enrique Ortega ... Padre de José
Diego Pantoja Diego Pantoja ... Padre de Candela
Giovana Giovana ... Rocío
Maria Campano Maria Campano ... (as Mari Campano)
Candy Román Candy Román ... Chulo (as Candy Roman)
Enrique Pantoja Enrique Pantoja
Manolo Sevilla Manolo Sevilla ... Cantaor
Antonio Solera Antonio Solera ... Guitarrista
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Storyline

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

Plot Summary | Add Synopsis

Plot Keywords:

dance | ghost | gypsy | singing | spain | See All (9) »

Genres:

Music | Drama

Certificate:

PG | See all certifications »
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Details

Country:

Spain

Language:

Spanish

Release Date:

23 December 1986 (USA) See more »

Also Known As:

Carlos Saura Dance Trilogy, Part 3: El Amor Brujo See more »

Company Credits

Production Co:

Emiliano Piedra See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby | 4-Track Stereo

Color:

Color

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Quotes

Carmelo: [after four years of confinement for a murder he did not commit, Carmelo has been released from prison, and returns to the gypsy settlement. He comes to greet Aunt Rosario] Aunt Rosario.
Tía Rosario: You're finally out. I'm so glad.
Carmelo: [Jokingly] They got tired of me and tossed me out.
Tía Rosario: I'm so happy... We missed you a lot.
Carmelo: [after long pause, expressing a certain bitterness] No one really missed me.
Tía Rosario: We forget about other people. That's how life is.
Carmelo: I lost four years of my life!
Tía Rosario: You'll get them back! Start over now,...
[...]
See more »

Connections

Follows Carmen (1983) See more »

Soundtracks

La mosca
Popular
Performed by Tony Maya
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User Reviews

 
Setting the record straight
13 January 2005 | by mccolley2See all my reviews

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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