Film Review: CARMEN (1983, Carlos Saura)

Stars: 4 of 5.
Running Time: 102 minutes.
Notable Cast or Crew: Antonio Gades (EL AMOR BRUJO), Laura del Sol (THE HIT), Paco de Lucía.
Tag-line: "Never before has the art of flamenco dance been so pulsatingly sensual. Or a love so treacherously obsessive. In this explosive interpretation of the classic opera "Carmen", the lines between passionate illusion and real life become intricately entwined. Your senses will be aroused like never before. And never again will you see anything like it."


The second film in his Flamenco Trilogy, Carlos Saura's CARMEN does what basically all those Golan-Globus dance movies (BREAKIN', LAMBADA, SALSA) aspired to do: it's a behind-the-scenes drama of virtuoso performers designed to showcase their talent and to capture a little bit of their passión on celluloid - to fleetingly catch a little of that lightning in a bottle.

Now, CARMEN boldly omits land-developer villains, spit-takes, windmills, and 'Shabba Doo' Quinones- and manages to be an incredibly compelling meditation on the nature of dance and the relationship between reality and art. Saura (CRIA CUERVOS, BLOOD WEDDING, FADOS) possesses an extreme confidence in the material (from Antonio Gades' choreography to Bizet's opera to Laura del Sol's fiery presence) and feels free to weave a non-traditionally-paced narrative.

Large blocks of the film are simply rehearsal, but it never drags- Saura constructs a natural rhythm for the proceedings: frenetic energy and vibrant motion are juxtaposed with stillness and silence.



His use of space is remarkable, and the whirling, boot-stamping flamenco would not be as powerful if Saura weren't so attentive to the geometry of the surroundings and the manner in which space expands: two-way mirrors, curtains, shades, and prison doors frame and extend his filmic canvas. Life teems within the frame- elaborate tracking shots of dashing feet; earth-toned backgrounds evenly sprinkled with costumes in vivid, primary colors; and the settling of differences through a cane-fight that would make Fosse blush.

We even get a supporting role by Spanish guitar maestro Paco de Lucía as himself (who kinda looks like he could be a Carradine brother).

Paco Carradine?

In all, one of the great dance films, and a fine entry to the 'art imitating life imitating art' genre. Four stars.

And by the way, thank God I do not live underneath a Flamenco studio.

-Sean Gill

Film Review: THE HIT (1984, Stephen Frears)

Stars: 5 of 5.
Running Time: 98 minutes.
Notable Cast or Crew: Terence Stamp, John Hurt, Tim Roth, Laura del Sol, Fernando Rey (VIRIDIANA, THE FRENCH CONNECTION) in basically a glorified cameo), bit part by Jim Broadbent as a Barrister, music by Eric Clapton and Paco de Lucia, producer Jeremy Thomas.
Tag-lines: "Willie Parker grassed... ten years later they came for their revenge."
Best one-liner: "She's already eaten."

THE HIT is a quintessential "existential gangster flick," and, hands down, the best work director Stephen Frears (THE QUEEN, DIRTY PRETTY THINGS) has ever done. In fact, I'd go as far to say that it moreso bears the stamp of its legendary, envelope-pushing producer Jeremy Thomas (BAD TIMING, CRASH, NAKED LUNCH, MERRY CHRISTMAS MR. LAWRENCE) than that of Mr. Frears.

With a virtuosic flamenco guitar soundtrack by musical genius Paco de Lucia (and an opening title composed by a Ry Cooder-inspired Eric Clapton) and cool, glossy visuals (which effortlessly accentuate the astounding natural beauty of Spain) lensed by Mike Molloy (HARDCORE, SHOCK TREATMENT), the atmosphere is utterly marvelous and exceptionally immersive. It is at once a world of stark landscapes lit by the torrid Iberian sun and a world of cramped car interiors where airs of impending doom subtly clash with waves of resigned tranquility.

Basically, it all adds up to the best road movie since Bergman's WILD STRAWBERRIES. Or at least since Bava's KIDNAPPED.

The characters in our chamber piece include beleaguered badass John Hurt, an assassin clad in a white suit and Ray-Ban Wayfarers; 22 year-old street tough Tim Roth as an aspiring hitman who really knows how to work a shiv; gleeful smartass Terence Stamp, who possesses all the blazing, at peace confidence of the man condemned; and mysterious beauty (and Carlos Saura regular) Laura del Sol. This crew deserves every accolade they receive, and no hyperbole can really do justice to the sheer, 'in-the-moment' craft on display here.

This is decidedly a film where the less one knows about it, the better, so I shall dispense with my description soon enough, but imagine the entertainment of Siegel's THE KILLERS combined with the depth and aesthetics of Antonioni's BLOW-UP, and you have a pretty good idea of what THE HIT is all about. Five stars.

-Sean Gill