Frida, naturaleza viva

Frida (1986)

If you manage to find this somewhere (I got my DVD on ebay) you'll see why the actress playing Frida is something of a small legend for her role. Ofelia Medina as the adult Kahlo is quite astonishing, highly believable, and often so Kahlo-like you have to remind yourself this isn't a documentary. She acting.

In fact, the whole movie is convincing in its realism even though it is not especially a "good" movie in other ways. What it lacks mostly is some kind of narrative drive. I don't mean you have to make up a fictional story line, certainly not with someone as amazing as Frida Kahlo, but there has to be something to keep the propulsion going. At the end she dies, and at the beginning she is young and being assessed with a childhood disease, but between it is a series of important things that happened to the artist.

So what you have is a collection of particular moments that really work--the accident aftermath is gruesome and terrifying, the final arrival in her bed at the exhibition is exhilarating--mixed with atmospheric filler, including lots of scenes of people playing music.

One surprising element all along is all the singing, including by Kahlo and even by Rivera. At one point they even have a comic operatic duet as they sing back and forth, quite hilarious and perhaps in keeping with two people filled with life. At times you might think the movie is a musical, but overall it's a low-budget, sincere, genuine feeling biopic. It's that genuine-ness that makes it worth the trip to ebay. Mexico comes across as the real deal, colorful and peppered with what seem like amateur actors, and filmed not in fancied up rooms and courtyards but simple, honest locations.

One of the revelations of this "Frida" is how the more famous 2002 "Frida" looks overly perfect, truly "Hollywood" in its slick, beautiful, colorful rendering of the same subject. Some of the scenes are so similar you realize that this earlier Mexican "Frida" was the template for the later American one (the Trotsky scenes in particular). Certainly the American one is better made and is easier to watch, and will move you. This Mexican one is more a corrective, a realization about who Frida really might have been, and about the falseness of even very good movies.

I have watched Salma Hayek's movie before this one, so at the beginning I thought it was a terrible movie. When I was half way through it I changed my mind. Few words are spoken in this movie and many scenes are unrelated, and it was intentionally made this way. It doesn't want to provide us with a lot of information about Frida, Diego Rivera and Mexico at the time, but rather show us Frida's feelings in different situations; how she loved her father, wanted to have a baby,became tremendously happy when receiving the painting colors in the hospital etc.. The music helps us to understand and apprehend these feelings. Yet her character is poorly represented and so is her relationship with her husband. We see here every once in a while in somebody's else's arms, flirting with Trotsky and kissing some lady, but I really don't understand why. The movie was also a little bit boring. I give it 5 out of 10.

The first thing you have to keep in mind is the format of the movie (8mm), and unfortunately the transfer to DVD was not made very well (the sound is pretty poor).

Nevertheless it is an interesting little movie that feels more like a surrealist's dream than a movie proper.

The dialogue is practically non-existent, thus you are left with small vignettes and images of relevant moments in the life of the artist, this may appear confusing if you don't know much about Frida and Diego, but if you do it is quite a poetic view abut their life together.

This is a movie made before Frida Khalo became a global feminist icon, conceived before all the hype generated by the rich and famous endorsing her and perhaps worth to watch just for this reason. reason.

After watching Frida for my Spanish class, I learned a lot about the history of Frida and what exactly her trade mark meant. The movie displays the life of Frida and what she meant to the Mexican culture. Through her artwork, her life with her husband and her illness is all portrayed. The time period was during the depression and world wars. A lot of her life during the movie is seen through a mirror signifying her life was shattered in the end. A lot of Mexican culture is shown through her husband, Diego, as well as Frida. The lady who plays Frida in the movie looks exactly like the original and does an awesome job being Frida. This movie has a lot to offer. It demonstrates the Mexican history, culture, and life of others during this time period. I would recommend using this film to teach students about Frida as well as the culture and history of Mexico.

Mexican-born director Paul Leduc's 1984 look at the life of prominent Latin American painter Frida Kahlo, Frida, Naturaleza Viva, is a slow-paced, quiet, and poetic film told through image and song rather than narrative plot. Vastly different from the Julie Traymore version of Frida of 2002, a standard biopic that focused on her tempestuous relationships, it is told through fragmentary accounts of different events in Frida Kahlo's life using impressionistic flashbacks from her deathbed. Ofelia Median is perfect as Frida, fully capturing her passion, fighting spirit, and sensuality as well as her painful self-absorption as revealed in her numerous self portraits and disturbing depictions of body parts.

The film depicts Frida's painful physical condition as the result of a bus accident when she was eighteen, her radical politics, bisexuality, miscarriage, the amputation of her leg, and her relationships with Diego Rivera, Leon Trotsky, and David Siquieros. It omits, however, any discussion of Rivera's womanizing, her divorce and remarriage, drug use and drinking, or her embrace of Stalinism in her later years. The end result is a hauntingly beautiful but incomplete portrait of a remarkable woman that makes you want to run to the nearest bookstore to learn more about her life and art.