Son de mar

A gorgeously photographed film, to be sure, but what about the plot line? Some interesting ideas are never fully developed, and some of the details are a bit incomprehensible, for example the baby crocodile in the yacht and the idea that our hero can survive comfortable in an abandoned apartment complex. Quibbling aside, it is an enjoyable film to watch, even though the final scene at the closing credits is a bit much.

Bigas Luna is a strange breed of the Spanish cinema: He is out to shock his audience all the time with sex, sex, and more sex. How strange, when everyone else is busy imitating him... The story he gives us here connects Ulyses and Martina in a web of passion in which the same sex they live for prove to be their own downfall.

We cannot fault the director with an eye for giving us gorgeous women like Penelope, Aitana, Leonor, and others just as beautiful, except Romaine Bohringer in The Chambermaid of the Titanic. Mr. Bigas Luna has an eye for the visual, as he demonstrates with the opening scenes with the sounds effects and music. The only problem with this film is that the story doesn't hold when it turns out to be another soap opera in which Ms. Watling goes into her own fashion show. While it is fun to watch, one comes out after seeing this film empty of any emotional involvement with the characters or the situation that was presented here. Jordi Molla and Leonor Watling make an attractive couple. It's obvious that Mr. Molla's screen appearances let him express himself by letting it all "hang out" as shown in this film as well as in Second Skin! Well done Bigas Luna and see your alligator later.........

Bigas Luna is a Spanish director who has his own style (Jamón, jamón, Huevos de oro, Bámbola, Lumière et compagnie, La Femme de chambre du Titanic, etc) and his method of storytelling takes some adjustment on the part of the viewer. For those who treasure the magical mysteries of Latin dramas this film SON DE MAR (Sound of the Sea) will surely satisfy. Keeping with the title he has chosen (from Rafael Azcona's screenplay based on Manuel Vicent's novel) the presence of the complex sounds of water are ever present and the carriage that escorts the lovers to their ultimate destiny is a boat of the same name. It works.

Ulises (Jordi Mollà) is a teacher brought in midterm to a little town's school. His obsession (and teaching assignment) is Virgil's Aeneid, and he constantly reads it, quotes it, coaxes his students to read aloud the poetry therein, and when he finds an apartment belonging to a couple whose daughter Martina (Leonor Watling) falls under Ulises spell, Ulises quotes from the book scenes involving serpents from the sea, words that make the young and very beautiful Martina awaken sexually. In rapid sequence they become pregnant and marry - though Martina's parents prefer the young wealthy Sierra (Eduard Fernández) as a suitable husband.

Soon after their baby son is born the couple attend a party at Sierra's estate and Ulises eyes a beautiful woman while Sierra attempts to win Martina's heart. Ulises buys a fishing boat and sets out to fish for Martina but the boat is wrecked and thinking Ulises dead, a Requiem mass is held and Martina in time marries Sierra for his ability to provide for her infant son. Five years pass and the now steely Martina lives in luxury and receives a phone call from - Ulises! First enraged that Ulises left her for five years, Martina is quickly wooed to the strains of poetry from the Aeneid and hides Ulises in the top floor of one of Sierra's new buildings. Sierra discovers the reunited lovers' tryst and plans for their end. The lovers escape - to a destiny foretold by phrases from the Aeneid.

Despite his greasy long hair and scruffy beard Jordi Mollà delivers a smoldering presence as Ulises. But it is the presence of Leonor Watling's Martina that makes this at times shaky film work. She is a powerhouse presence. The photography by José Luis Alcaine and the sensuous musical score by Glen Johnson enhance Bigas Luna's concept for the film. It is another satisfying work by a unique director who knows how to mold a story with fleshy means and make it work. In Spanish with English subtitles. Grady Harp

My nose is bent slightly out of shape as I write this. I had sent a previous comment on this film some weeks ago that has not yet appeared, so I assume it was rejected, even though it met all the usual guidelines.

I found this film interesting for the first thirty minutes, particularly the performance of Jordi Mollà, a veteran actor who has appeared in such major productions as "Blow" and "The Alamo." Leonor Watling is also quite good. Unfortunately, everything sinks eventually under the weight of a truly awful, melodramatic script. There is also an abundance of gratuitous nudity that does nothing to advance the narrative or lend even an impressionistic nuance to what is otherwise a beautifully filmed piece of art.

An actual day trip to the beach at Valencia would be much less arduous than having to encounter these fictional characters again anywhere, anytime.

Yet another film with an illicit affair at its centre - I recently watched MATCH POINT (2005), DAMAGE (1992) and LA SEDUZIONE (1973) - though this is actually a variation on a much-used plot line which dates back to MY FAVORITE WIFE (1940), in which one half of a married couple is thought dead and, on returning several years later, finds the partner now belongs to a new family.

As is to be expected from director Luna, the emphasis this time around is on eroticism - though it's not particularly graphic - and, here, leading lady Leonor Watling at least serves this purpose supremely well! Still, the decision to embellish the love-making with a purportedly poetic touch - in the form of the scholarly hero's recital of a suggestive elegy to the sea - ends up being a misfire, for the simple reason that the repetition serves only to render the whole somewhat monotonous!

The film isn't bad but the narrative (courtesy of screenwriter Rafael Azcona, once valued collaborator to cult Italian film-maker Marco Ferreri) is just too predictable to generate much involvement from the viewer. The finale - in which the two lovers decide to leave everything behind them and sail away (on the boat which bears the film's name) to a new life together - adheres to the ideal of l' amour fou, but Luna and Azcona opt for an ironic double-twist instead! In essence, SON DE MAR is not as intriguing as the only other Bigas Luna title I've watched - THE CHAMBERMAID OF THE TITANIC (1997) - but I should be checking out at least one more film of his (BAMBOLA [1996]) fairly soon...which now makes me regret all the more having missed an Italian-TV showing of VOLAVERUNT (1999) a few months back!