Flamenco

This brilliant work by Carlos Saura is a marvel to view.The lighting of the simple sets is stunning while the performers show the development and the history of the flamenco.The music, the dancing and as said before the lighting of the sets are breathtaking. An other companion film to watch would be Carmen by Carlos Saura one of my all time favorites. In Flamenco I would have liked to have seen a little more pair-dancing.

This film is entirely musical and dancing vignettes, composed and photographed on a sound stage (actually the public space of a train station converted to a stage for this film). It's beautifully, sparely photographed. If your entire conception of flamenco consists of the images of some lithe guy in a toreador outfit and an austere woman in a lacy black dress with castanets or thumb cymbals in her hands, drumming dramatically with their boot heels, this movie will open up a new view of flamenco.

This film shows a world of flamenco -- singing, dancing and guitarplaying melded into an intense, enclosing and dramatic space. The flamenco presented here is jazz-like and interpretive. Song, guitar and dance are blended in surprising and inventive ways. Song and dance are sometimes a cappella, extending the guitarplaying in subtle and intense "solos" accompanied often by hand-clapping or knuckles rapped on a table. This dancing is purely interpretive, as jazzy and individualized as any modern dance. These dancers have learned the technique but they make the flamenco their own. This is not an abstracted art form like a string quartet sitting in the well of a performance hall.

Nor is this flamenco the flared-skirt performance of athletic divas. Here we see children dancing with their parents; and grandparents demonstrating decisively that flamenco imbues the spirit with a graceful power that does not age.

At the end, we see the form of flamenco symbolically passed through a class of aspiring dancers. But the heart of the flamenco, I suspect, cannot be learned.

The only flaw in this film is likely to lie in the beholder. If you are not fluent in Spanish, the lyrics of the songs are meaningless. They are literally translated in the subtitles (the only "dialog" in the film), but I found the translations distracting. Like a lot of such translations, the literalness often made the powerfully sung lyrics seem trite.

Nonetheless, as the credits rolled at the end, I found myself shaking my head in wonder that just spare, rhythmic guitar, singing in an unknown language and dancing that consisted of as much anticipation as movement could leave me feeling that I had just watched something special. Over and over again.

Saura's love for flamenco (and formidable ability for capturing it on film) is well-established, and here he presents it pure and unadorned. Hundreds of musicians, singers and dancers provide an uninterrupted series of flamenco performances in all its forms and styles. The talent is dazzling and the passion is infectious, it's a marvelous tribute with glorious photography by Storaro, backlighting the performers in warm oranges and cool blues on sparse stages. There is one problem, though. For the first 20 minutes, it's electrifying and exhilarating, and I thought I might be watching a new favorite. But then the next 40 minutes are far too ballad-heavy. Although the material is very good, it kind of sucks the energy out of the room. Anyone who's ever sequenced an album, or even made a mixtape, knows you don't clump a bunch of slow songs together. Fortunately, the remainder of the film is more evenly paced with a much better mix of uptempo and downbeat. Although that slow stretch keeps the movie from being a masterpiece for me, overall I was delighted, and it made me want to pick up my guitar.

This is a wonderful film! Full of passion, music and drama. It follows the story of the opera of the same name. Even Carmen-haters will agree that this is a version that overcomes the boredom bred of familiarity and infuses new life into this overproduced work.

The setting is a flamenco school in Spain, and the search is on for the star of a production of a flamenco Carmen. The director finds, and then falls in love with his new leading lady. The complications arise from there, from some unhappiness on the part of the best dancer in the troupe who feels she should be the star and not the newcomer, and from the storyline of the opera.

The director of the film is the real-life director of one of the most famous dance schools in Spain, and the dancers, except for the character of Carmen, are members of the school.

The dancing is exciting and dangerous, the story, though very familiar, attains fresh vigor in the new setting, and is altogether one of the best films of the nineties.

It's a movie made with spanish sensibilities. If I was spanish and if I'd lived and breathed the flamenco, this is what it would look like. Proud, haughty, yet fun and bold.

The colour, rhythm and motion of the music, the singing and the dancing are captured. Captured and put on film to remind the viewer what good flamenco can be like.

It's flamenco for the modern age, yet, the costumes and the voices are old, old.

This film has well known artists, and it also introduces us to the up and coming singers, guitarists, and dancers.

I highly recommend this film to all fans of the art of flamenco.