Blancanieves - Ein Märchen von Schwarz und Weiss

Silent, black and white, expressionist, virtuoso in his classically vintage mise en scene, "Blancanieves" is a triumph of real cinema and invention, folk culture and Iberian poetry, a post-modern masterpiece in which the aesthetic of silent cinema – with its quotes and its expressive forms, the single power of pictures and musical score – it's not only an end, as it has been for the contemporary and more exalted "The Artist" (in which retro style was justified by the homage to old Hollywood), but a mean, a perfect mean, to tell a story: the usual one, by Grimm's brothers tiredly taken to screens so many times in so different ways, but here completely twisted, tipped over, in a Gothic, Spanish and extravagant version where Snow White and seven dwarfs are toreros, the set is Seville between '10s and '20s, and the usual Disney fable hearts and flowers go to hell in benefit of a dark tonality, a black humor and a grotesque taste which unchains an unstoppable series of stylistic, comical, poetic inventions, unpredictable as sensational. Under the aegis of a deep patriotic identity, "Blancanieves" has the rhythm of a corrida, the passion of a flamenco, the blood of the arena, the twists of circus and the weight of jealousy, of love duel, which is heart and root of Spanish romanticism. It's a modern "Carmen" with Oedipus complex, tuned with "guitara" and castanets, and painted with the oldest cinema aesthetic, close-ups, gags, depth of field, lights and darks of great silent cinema, here in its maximal expression, without any self-satisfaction at all. It's not a divertissement, and not a simple homage, not a pastiche: it's like a film should be, simple, dry, moving, as cinema in its beginning. Cinephile mannerism of Pablo Berger doesn't make lose the film in a style exercise, but helps to tell a black fairy tale, out of time, revolutionary and anarchic, which couldn't be represented some way else. A bond of immediate emotion and narrative synthesis, which discovers in the arena a theater of all life sensation range: laugh, crying, show, anguish, childhood lightness and horrid adults' cruelty, the weight of past and memories, ghosts and returns, a little antique world in which good and evil, hate and love, jealousy and solidarity, clash and overturn in front of an enraptured, manipulated audience who asks for more, who wants to be thrilled, who gets touched, who has fun, and in the end asks grace for the bull. And, on the very last scene, cries for masterpiece!

I watched this film today at the Toronto International Film Festival. After many years of attending the festival, few if any films have made such an impact on me. Visually stunning, every scene shot in crisp black and white shouted out that colour is a mere distraction, a passing fad.

In a silent film, apart from the occasional inter-title, the visuals must tell the story, and in this case the filmmaker borrowed from the tropes of 1920s cinematic narrative, but added a more modern appreciation of human appetites and moralities. Much effort was made to reproduce the look and tone of classic silent film down to the 1.33:1 aspect ratio, but the current technologies used in production added an extra snap, crackle, and pop.

The story is Snow White, but set in the Seville of the 1920s: a girl, the daughter of a famous bullfighter, is raised by an evil stepmother. Instead of a mirror on the wall (though she has one of those, too) the stepmother relies on a fashion magazine to say who's the fairest of them all. A plot to kill the girl - now grown up - fails when she is rescued by a band of travelling bullfighting dwarfs who care for her until she's ready to fulfill her own destiny in the ring.

As befitting a fairy tale, the story is simple and direct, though there are shades of grey here and there in this black and white world of good and evil. But simple as it is, like the best children's stories, this one resonates at a deep level. And speaking of children, it can be debated whether any Grimm fairy tale is actually suitable for children. I would certainly not take a young child to see this one.

Have I mentioned the music? Anchoring the story to the setting, glorious Flamenco appears at key moments making the pulse quicken in time to the castanets.

Such a gorgeous film. I must see it again, if my heart can take it.

A silent movie, filmed in black & white, which moves the familiar Snow White fairytale to a bullfighter arena in Seville and spices it with some morbid and melodramatic themes. I admit, it sounds weird. But in fact, it's wonderful. Blancanieves is a great cinematographic accomplishment. Anyone who loves film, should go and see it.

Many silent movies are still a joy to watch, even though they are made almost a hundred years ago. That's because they put so much more emphasis on the visual aspect of the movie. It's about what you see on the screen, not about what the actors say.

Director Pablo Berger has understood this perfectly. Blancanieves is a visual feast from beginning to end. The scenes are filmed in high-contrast black & white, often with deep focus. Everything looks extremely stylish, from the wardrobes to the interiors. Sometimes the images could have come right out of a fashion magazine.

Moreover, the actors know that they have to act differently and use much more expression. Maribel Verdu is a joy to watch as Blancanieves's evil stepmother. Her facial expressions are worth more than a hundred lines of dialogue. Watch for the chicken-eating scene!

In silent movies, the soundtrack is of course extremely important. Blancanieves doesn't disappoint. From the no holds barred, full-scale orchestral pieces during the most melodramatic scenes, to traditional Spanish flamenco music, it all accompanies the images on screen perfectly. Sometimes the soundtrack turns into source music, for example when we see the orchestra playing during the bullfight, or when Blancanieves puts on a record.

it's hard to review this film without mentioning 'The Artist', the Oscar-winning silent movie from last year. Inevitably, Blancanieves stands in the shadow of this successful film. That's bad luck for director Berger, who has started this project long before anyone had even heard of The Artist. Perhaps, if The Artist wouldn't have had as much success as it did, Blancanieves would have attracted more attention. The Artist was a multiple Oscar-winner, Blancanieves didn't even get nominated, although it was the Spanish selection for the foreign language category. That does seem out of proportion, because both films are really great. Blancanieves is old-fashioned film making at its very best.

Blanca Nieves, or Snow White, is a variation on the old fable, with bullfighting being a major thematic difference. A great matador is seen praying in front of a statue of the Virgin Mary, as he awaits is battle with el toro. He enters to a worshippig crowd, which includes his pregnant wife cheering him on. Of course, things go horribly wrong and he ends up in a wheelchair and his better half has a difficult childbirth. A daughter is born and she winds up at an estate with a wicked stepmother, as in the original tale. This is all in black and white and it is also a silent film. I was reluctant to watch it, but once I got used to the placards used for dialogue, I was carried along by the story. Carmen, the little girl, grows up and circumstances bring her to a group of; you guessed it, seven bullfighters. They are little people, in keeping tradition with Grimm's book. I won't give away the ending, but I was thoroughly entertained by Blanca Nieves. The cinematography is beautiful and the acting excellent throughout. Be open minded, as far as watching a silent movie is concerned, and you will not be disappointed.

Beautifully shot , memorable roles and wonderful cinematography mark this special adaptation ¨Snow White¨ , being realized in ¨The artist¨ style . It is set in 1920s Seville . On the day Carmen was born , her father named Antonio Villalta (Daniel Gimenez Cacho) suffered a Toreo accident, and her mummy named Carmen De Triana died (Imma Cuesta) in childbirth . Her dad bullfighter quickly remarries a nurse , Encarna , (Maribel Verdú came aboard in 2006 after a conversation with Berger and stuck with it) , but the little girl is rejected by her father . Raised by her grandmother (Angela Molina) during her early years, Carmen went to live with Encarna while a teenager , but her Stepmom treated her as a slave . Many years later , the daughter meets her wheel-chaired and disabled daddy . The Stepmom/Stepdauther battle increases and the unbalanced and wrathful Stepmom orders her lover (Pere Ponce) Carmen's death . Carmen (Macarena Garcia) escapes and a group of bullfighting dwarfs save the life of young girl with amnesia . Only she's rescued by seven outcast dwarfs living in a carriage and acting by means of bullfighting spectacles .

Sensitive silent film full of good feeling , haunting mood-pieces , wonderful scenes and sense of wonder . This is a special adaptation of the Grimm Brothers fairy tale about the fairest them all . A twist on the Snow White fairy tale that and centered on a female bullfighter and definitely puts the grim in the Grimm Brothers version of the fairy tale . Colorful picture though filmed in Black and White , including marvelous frames , being mostly filmed at Sevilla, Andalucía, Aranjuez, Madrid, Pedraza , Segovia, Vilanova i la Geltrú, , Mataro , Barcelona, Catalonia , including sunny outdoor scenes . This extraordinary flick spells through intricate patterns of images , sets , sound and photography . In addition , a magnificent main cast as Maribel Verdu , Daniel Gimenez Cacho , Macarena Garcia and splendid support cast of known and prestigious players as Pere Ponce , Imma Cuesta , Ramon Barea , Angela Molina , among others . Splendid , luxurious photography with juicy atmosphere by Kiko De La Rica , it was shot on color film stock and desaturated to black & white in post-production . Moving and emotive musical score by Alfonso De Vilallonga who replaced Alberto Iglesias when he proved unavailable due to prior commitments.

There are other versions about this marvelous tale , as the classic animated rendition was ¨Snow White¨ (1937) , being the definitive rendition by Walt Disney ; ¨Snow White¨(1989) by Michael Berz with Diana Rigg , Billy Barty and Sarah Patterson , plus ¨Snow White a tale of terror¨ (1997) by Michael Cohn with Sigourney Weaver , Sam Neill and Monica Keena . The best adaptations result to be ¨Snow White¨ by Walt Disney and this ¨Blancanieves¨ or Snow White by Pablo Berger .

This touching picture will appeal to Spanish films buffs ; being deservedly the official submission of Spain to the Best Foreign Language Film of the 85th Academy Awards 2013, and won European Film Award , Best Costume Designer to Paco Delgado and several Gaudí Awards . Furthermore , achieved Goya prizes as Won Goya : Best Actress , Maribel Verdú , Best New Actress , Macarena García , Best Costume Design , Best Cinematography , Kiko De La Rica , Best Original Score , Alfonso de Vilallonga , Best Screenplay , Pablo Berger , Best Original Song , Best Make-Up and Hairstyles , Best Production Design , Best New Actor, Emilio Gavira , Best Special Effects : Reyes Abades , Ferran Piquer , Best Production Manager , Josep Amorós , and Best Director .

The motion picture was perfectly produced and stunningly directed by Pablo Berger , a very good Spanish movies director . Director Pablo Berger developed the project for eight years before being able to shoot it. Pablo is a well recognized filmmaker both nationally and internationally, and in proof of it he won many prizes in several Festivals , as his previous picture titled ¨Torremolinos 73¨ , as this ¨Snow White¨ or ¨Blancanieves¨ . Rating : Above average , essential and indispensable watching .