Frida (B or 3/4 stars)
The uni-brow has never been more popular onscreen than in 'Frida', a biodrama directed by Julie Taymor. That uni-brow belongs to Frida Kahlo (Salma Hayek), the wildly imaginative, passionate, yet perverse woman whose life story is chronicled in this film. Seen as an artistic, political, & sexual revolutionary, Frida drew from her crippling injury, her bisexual love affairs & her tempestuous marriage to Diego Rivera (Alfred Molina) and used it all as inspiration for her vibrant artwork. Hayek, Molina & the visuals in 'Frida' are stunning. But the script is the weakest aspect -- parts of Frida's life sound more interesting on paper than as depicted on film.
The plot unfolds in a linear fashion (from 1922 to her tragic death in 1954 at age 47). Minute details of the plot are unnecessary right now. Here's what you need to know: she had a complex love-hate marriage to her mentor, Diego, a muralist who'd rather keep his artwork private. A horrific bus accident is what left her bed-ridden. She had an illicit affair with Russian revolutionary, Leon Trotsky (Geoffrey Rush). She fancied Norman Rockefeller (played by Hayek's real-life boyfriend, Edward Norton); a man who fought with Diego over a particular mural. We can't forget her controversial liaisons with women. And the film ends with her premature death as a cripple.
Salma Hayek is fairly captivating in her first serious main role. She's good when both erotically charged AND vulnerable. Due to her boldness & nonconformity (during an odd time & place), I imagine she'd be quite fascinating to most female observers. Astonishingly, even better than her is Alfred Molina as her talented, but tormented husband. Seriously, the film could almost be named 'Frida & Diego'. Supporting performances from Norton, Rush, Ashley Judd, Valeria Golino (as Diego's ex-wife) & Antonio Banderas are solid, but are treated more like extended cameos. I commend the acting from all. I just wish the 'characterizations' were more fully realized.
The look of the film is exquisite; clear, vivid, & vibrant. The palette Taymor uses to emphasize both Frida Kahlo's actual works (of art) and her actual life events is wonderful. The period set designs, Julie Weiss' costumes, Rodrigo Prieto's cinematography, & some varied make-up work {injury, age, hair styles} are all honed to create optimal visual enticement. I am particularly impressed by Taymor's stylized vision of a sickly Frida as she lay on a trolley car's floor with gold dust surrounding her. It's very easy to sit through this beautiful movie. And so, every single component of this film has flair (the performances, the visuals, the fantastic music by Elliot Goldenthal) ... except the script.
The script (after undergoing many re-writes; even Edward Norton had a hand in the writing) touches upon every BIG moment in Frida Kahlo's life (a colorful check-off list), but unfortunately, there's no real depth to it. There's little in the way of psychological contemplation. There's little resonance. For better or worse, 'Frida' is a gorgeous melodrama that sacrifices an intriguing fact-based human story for more glamorized artifice. In other words, the screenplay feels too "movie-ish" and not realistic enough to take completely seriously. While I enjoyed this movie for its lead portrayals & visuals, the script prevented me from outright loving it. Still, the film is more than worth a watch.
The plot unfolds in a linear fashion (from 1922 to her tragic death in 1954 at age 47). Minute details of the plot are unnecessary right now. Here's what you need to know: she had a complex love-hate marriage to her mentor, Diego, a muralist who'd rather keep his artwork private. A horrific bus accident is what left her bed-ridden. She had an illicit affair with Russian revolutionary, Leon Trotsky (Geoffrey Rush). She fancied Norman Rockefeller (played by Hayek's real-life boyfriend, Edward Norton); a man who fought with Diego over a particular mural. We can't forget her controversial liaisons with women. And the film ends with her premature death as a cripple.
Salma Hayek is fairly captivating in her first serious main role. She's good when both erotically charged AND vulnerable. Due to her boldness & nonconformity (during an odd time & place), I imagine she'd be quite fascinating to most female observers. Astonishingly, even better than her is Alfred Molina as her talented, but tormented husband. Seriously, the film could almost be named 'Frida & Diego'. Supporting performances from Norton, Rush, Ashley Judd, Valeria Golino (as Diego's ex-wife) & Antonio Banderas are solid, but are treated more like extended cameos. I commend the acting from all. I just wish the 'characterizations' were more fully realized.
The look of the film is exquisite; clear, vivid, & vibrant. The palette Taymor uses to emphasize both Frida Kahlo's actual works (of art) and her actual life events is wonderful. The period set designs, Julie Weiss' costumes, Rodrigo Prieto's cinematography, & some varied make-up work {injury, age, hair styles} are all honed to create optimal visual enticement. I am particularly impressed by Taymor's stylized vision of a sickly Frida as she lay on a trolley car's floor with gold dust surrounding her. It's very easy to sit through this beautiful movie. And so, every single component of this film has flair (the performances, the visuals, the fantastic music by Elliot Goldenthal) ... except the script.
The script (after undergoing many re-writes; even Edward Norton had a hand in the writing) touches upon every BIG moment in Frida Kahlo's life (a colorful check-off list), but unfortunately, there's no real depth to it. There's little in the way of psychological contemplation. There's little resonance. For better or worse, 'Frida' is a gorgeous melodrama that sacrifices an intriguing fact-based human story for more glamorized artifice. In other words, the screenplay feels too "movie-ish" and not realistic enough to take completely seriously. While I enjoyed this movie for its lead portrayals & visuals, the script prevented me from outright loving it. Still, the film is more than worth a watch.