6.7/10
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Mad Love (2001)

Juana la Loca (original title)
The love story that transformed Juana, Queen of Spain, into Juana "the Mad". A story of passions, lies and jealousy with a political motive behind.

Director:

Vicente Aranda

Writers:

Vicente Aranda (screenplay), Antonio Larreta (screenplay) | 1 more credit »

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14 wins & 12 nominations. See more awards »

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Cast

Cast overview, first billed only:
Pilar López de Ayala ... Juana
Daniele Liotti ... Felipe
Rosana Pastor ... Elvira
Giuliano Gemma ... De Veyre
Roberto Álvarez ... Admiral
Eloy Azorín ... Álvaro de Estúñiga
Guillermo Toledo Guillermo Toledo ... Capitán Corrales
Susi Sánchez ... Reina Isabel (as Susy Sánchez)
Chema de Miguel Chema de Miguel ... Don Juan Manuel
Andrés Lima Andrés Lima ... Marqués de Villena
Cipriano Lodosa Cipriano Lodosa ... Marliano
Manuela Arcuri Manuela Arcuri ... Aixa-Beatriz
Carolina Bona ... Inés
Jorge Monje Jorge Monje ... Hernán
Sol Abad Sol Abad ... Mucama
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Storyline

Juana is married off by her pious parents, the Catholic kings Ferndinand of Aragon and Isabella of Castille, to ally Spain, united by their marriage, to the Burgundian and other Habsburg heritage of archduke Maximilian's son Philip. When they meet, it's love at first sight, for her all-consuming, for him one of many happy bed partnerships as she later discovers. Deaths in her family soon make Juana Isabella's heir, but Ferdinand suggests she inherited her grandmother's madness and supports Philip's ambition to rule instead, which becomes the stakes of political maneuvering in the Cortes (nobility-dominated parliament). Combined with Philip's incurable infidelity, which includes a Moorish whore-princess, multiple drama is inevitable, and worse follows. Written by KGF Vissers

Plot Summary | Add Synopsis


Motion Picture Rating (MPAA)

Rated R for sexuality/nudity | See all certifications »
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Details

Country:

Spain | Italy | Portugal | France

Language:

Spanish

Release Date:

30 August 2002 (USA) See more »

Also Known As:

Mad Love See more »

Filming Locations:

Barajas, Madrid, Spain See more »

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Box Office

Budget:

€4,800,000 (estimated)

Opening Weekend:

€425,402 (Spain), 2 October 2001, Limited Release

Opening Weekend USA:

$31,417, 1 September 2002, Limited Release

Gross USA:

$279,605, 15 December 2002

Cumulative Worldwide Gross:

$9,200,000, 31 December 2002
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Connections

Referenced in The Holiday (2006) See more »

Soundtracks

Gallarda
Composed by Luis de Milán
Adapted by Pepe Rey
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User Reviews

 
A big-budget soap-opera
15 April 2005 | by Asa_Nisi_Masa2See all my reviews

Allegedly the "true story" of Juana de Castilla, the eldest daughter of the Catholic Queen Isabella (yes, the same who funded Columbus's expedition), the film charts the progress and degeneration of her morbid obsession with her husband, the Archduke Philip of Austria, known as "The Handsome" (and played in a rather unispired manner by Italian hunk Daniele Liotti, at his most buttery and beefy here). This is a groan-inducingly familiar story of late 15th c., early 16th c. intrigue, betrayal and bodice-ripping. It drips destructive lust from start to finish. But while La Reine Margot succeeds in making cruel sensuality and ruthless, cut-throat intrigue entertaining to watch, Juana La Loca just doesn't pull off. It just ends up feeling like a big-budgeted soap opera, with below-average, lazy or over-keen acting. Liotti looks positively bored and Pilar López de Ayala in the title role – though to be fair she may mature into a proper talent – just seems to be trying too hard, switching back and fourth from two-dimensional horny-looking to spoilt teenage hysterics all the way through. Some of the supporting cast are OK, with the exception of Manuela Arcuri, another Italian pin-up, voluptuous and beautiful but really no "actress" to speak of. I couldn't in fact bring myself to feel any concern towards any character, nor for that matter did I feel strongly in a negative way against any of the supposed villains. What a waste of a substantial film budget! This one, sadly, is just so rhetorical and deja-vu, nodding to other films in the genre rather than to its source material - history - for inspiration. It seems to me that such a fascinating and complex historic era deserved a far superior film-maker to evoke it.


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