Ay Carmela! - Lied der Freiheit

Saura's superb display of a well-chosen fit between music and the story that is going on "behind the curtains". He is a master on that. Kind of idealistic view of the Spanish Civil War, as a result of the political moment of "institutional silent" when democracy is possible in Spain again. (90')He took the amazing and just genial play by Sinisterra and make it a new piece of art. Makes you laugh and cry..although the vision of Carmela as the representation of "la republic" inserts women in a stereotyped context of the "abstraction" that does not let her be part of the struggle for democracy, hand by hand with human kind..men in this case.. highly recommended, but also should be followed by the reading of the theater play.

During the Spanish Civil War a spirited vaudeville team on a morale boosting tour of the republican front lines is captured by fascist troops and made an offer they can't refuse: face imprisonment and possible execution or perform a degrading propaganda skit for the amusement of local officers. The stakes are clear: collaborate and live, or refuse and die, and from that simple dilemma director Carlos Saura conveys the escalating tension before the show with a healthy measure of wartime drama and ironic backstage humor. Saura understands that genuine tragedy requires at least a touch of comedy, provided here by an energetic cast led by the reliable Carmen Maura, who even does her own singing and dancing. So it's too bad that after building such momentum the film has to end on a lurid climax better suited to an Oliver Stone potboiler, complete with strobe light effects and mass audience hysteria. But it's a small price to pay for an otherwise elegant and entertaining reminder of how, even in a war where the issues are obvious, some decisions can be mortally dangerous to make.

OK, first of all, whoever said that "The Pianist" was a precursor to this movie must not have noticed that "Ay Carmela" was released 8 or so years before it. Also, you probably need to come into this one understanding some of the complicated precepts involved in the Spanish Civil War and how it was more complicated than just one enemy, and that the Republican army was not unified either. This film does a decent job of communicating that complexity and speaking to the ambivalence that the Spanish nation felt (and still feels) about this terrible period in their history. Lastly, as the protagonists are artists, it is important to remember that under Franco many of Spain's leading artistic figures were forced into exile and or shot (as in the case of Garcia Lorca). Expecting to get a history lesson from a movie seems like the wrong motivation altogether for me, I mean these are characters placed into a historical context. So therefore if you know absolutely nothing about this period it may be smart to learn a little first and then appreciate the film through the lens of that knowledge.

This dramatic film with comical elements deals about lives of a group of artists and comics that travel around the country in hard times the Spanish Civil War (1936-1939). Carmela (Carmen Maura), his husband Paulino (Andres Pajares) and their mute helper Gustavete (Gabino Diego) are street performers who entertain the Republican troops after the battle in Aragon , 1938 . The trio of troubadours touring scenarios decides to seek a less dangerous destination . However, the Republican trio by mistake go to the national zone and immediately are arrested by a captain (Jose Sancho) . Suspecting that all of them collaborate with the Republican rebels opposite to the Francoist Regime they are imprisoned by a Lieutenant (Miguel Rellan) and they fear a firing squad , but receive a reprieve from an Italian Fascist commander who loves the theatre . As an Italian Lieutenant named Ripamonte (Maurizio De Razza) arranges a performance for his troops , playing burlesque , bargaining with Paulino to stage a burlesque show in exchange for the actors' freedom.

This is an interesting story about human beings , three sympathetic troubadours touring the countryside during the Spanish Civil War and how they cope with this unsettling nightmare ; including their pain , poverty but also some mirth and joy . Drama with historical and hilarious elements ; including enjoyable performances and adequate set design by Rafael Palmero. ¨¡Ay Carmela¡¨ results to be other of the innumerable stories to deal with dramatic deeds regarding the Civil War background . A familiar theme about the global horrors of a fratricide war , impossible to forget to our cinema . An agreeable as well as dramatical story plenty of enjoyable moments , moving feelings , wonderful songs , attractive musical score by Alejandro Masso and tragic finale . Above all , the acting is first rate , as Carmen Maura gives a terrific acting as the fiery and patriotic Carmela, along with Andres Pajares who won several national as international prizes . The story describes the penury and sadness of a nation at recent war which itself is expressed through the tortuous mental , emotional processes and final nervous breakdown Carmen Maura goes through . Director Carlos Saura , also writes the interesting script along with prestigious screenwriter Rafael Azcona , Luis Garcia Berlanga's usual writer . Carlos Saura conveys us the escalating tension before the show in important measure of difficult along with an ironic humor backstage . Filmed in his usual formal and stylistic scholarship , but plenty of marvelously ancient songs , musical numbers and without leaving a trace the thought-provoking issues , in terms of dramatic and narrative excitement . The flick can be defined as a realistic tragedy-drama , a romantic history , a historic/comical fresco and a socio-political fable . This theme about a troupe constantly being dragged back to the reality of war and in an extreme situation continues through the picture . The flick bears remarkable resemblance to subsequently directed by Emilio Aragon titled "Paper Birds" by Emilio Aragon with Imanol Arias , Luis Homar , but the latter failed as box office with indifferent reception by public as critical . Good support cast with prestigious Spanish secondaries as Luis Rellan , Jose Sancho , Maurizio De Razza , and Chema Mazo , among others . Including a spotless pictorial cinematography by Jose Luis Alcaine and a willingness , almost perfect of the elements of each shot , every sequence, every space .

The motion picture was stunningly written and directed by Carlos Saura He is one of the best Spanish movies director . He began working in cinema in 1959 when he filmed ¨Los Golfos ¨(1962) dealing with juvenile delinquency from a sociological point of view . He subsequently made LLanto por Un Bandido (1964) starred by an European all-star-cast . Saura is a well recognized filmmaker both nationally and internationally, and in proof of it he won many prizes among which there are the following ones: Silver Bear in Festival of Berlin for Peppermint Frappé (1967) and the successful La Caza (1966) that also won numerous prizes in International Festivals and in which four characters facing each other and terminating into a jarring burst of violence . Saura achieved Special Jury Awards in Cannes for La Prima Angélica (1974), in 1973, and for Cría Cuervos (1976), in 1975. Also, the film Mamá Cumple Cien Años (1979) got an Oscar nomination in 1979 as the best foreign film, and it also won the Special Jury Award at the San Sebastian Festival. He subsequently made ¨Deprisa , Deprisa¨ based on facts about juvenile delinquency in Spain since the 80s , as he tried to take a position in favour of outcast people and he got to make a both lyric and documentary-style cinema . In 1990, he won two Goya , The Spanish Oscar , as best adapted screenplay writer and best director . Saura became an expert on Iberian musical adaptations as ¨Carmen , Amor Brujo , Bodas De Sangre , Sevillanas , Iberia , Salome , Fado, Flamenco ¨ and even recently Opera as ¨Io , Don Giovanni

This acclaimed latter-day Saura effort touches on, or rather weaves together, a number of his lifelong concerns – the performing arts are here placed within the context of the Spanish Civil War. In that respect, it inevitably elicits memories of Ernst Lubitsch's WWII masterpiece TO BE OR NOT TO BE (1942) – but that film's blackly comic tones (deemed tasteless at the time) are here largely supplanted by genuinely less salubrious elements, notably grotesquerie and (unsurprisingly) eroticism!

Incidentally, while the script (co-written by Saura and Rafael Azcona in what would prove to be their sixth and final collaboration) does clearly take the side of the "Loyalists" (epitomized by the recurring title song) against the winning "Nationalist" forces in the ongoing conflict, it wisely opts to stress a general anti-war feeling – since, by then, the alternative Communist doctrine was seen to have also reaped an oppressive system (the Berlin Wall had just been torn down when the film was made)! That said, it paints a clichéd picture of Italians (who naturally supported the soon-to-be-established Fascist dictatorship) as lovers of pasta and Neapolitan songs!

The protagonists comprise a small-time variety act, but which is seen to go a long way on the woman's sensuality (she too is named Carmela and sings one of her numbers draped in the Republican flag!), her partner's penchant for rhythmic flatulence(!) and the sheer innocence of its third member, a mute boy (who, at one point, attempts to sell to the Italians the troupe's allegiance to their cause by inscribing "Viva Mulosini" {sic} on a tablet he carries around with him and, in another comic sequence, dutifully informs his boss that the delicious meat he is gorging himself on may well be that of a cat as opposed to rabbit!).