Ballade Triste

A magic tale of terror, dark humour and tragedy!! I think that this film is like a mix of Rodrigues, Jarmush and Kusturica... gripping and strong whilst dark, random and ghastly at the same time. Romantic and disgusting in one film. de la Iglesia beautifully makes the whole film look like a circus performance with all characters exaggerated to the point that even Franco looks like a clown. Though I appreciate that this film is probably not for everyone, I think that it's an original and interesting portrayal of, amongst other things, love and war during horrors of Spanish civil war - an interesting contrast to del Toro's "El Labiirinto del Fauno"!

After the really disappointing "Oxford murders", Álex de la Iglesia returns with not only his best film to date, but with one of the best films in the last years. "Balada Triste de Trompeta" is a romantic-over the top-violent melodrama which mixes Tarantino, Hitchcock, Fellini, Todd Browning and of course it also has a lot of previous Álex de la Iglesia films like "Acción Mutante" or "El día de la bestia". Two men, one good and one bad, fighting for the love of a beautiful blonde trapeze artist (the gorgeous Carolina Bang) in a downward spiral of love and madness that also serves as a historical recount of the last 75 years of Spanish history.

"Balada triste de trompeta" (Sad trumpet ballad, in Spanish -I have no idea why they translated it as "The last circus", as it's much poorer) is none short of a masterpiece, in my opinion. It is also a 100% Spanish film, meaning it is a tragicomedy, a totally Spanish genre and it also expands between two crucial moments of Spain's recent history, full of tragic events -the Civil War, the killings, Franco's repression and dictatorship- but also full of grotesque details, situations and characters that were real and now, in retrospect, feel utterly ridiculous, much more so than they were at the time -e.g. when the dictator went hunting, they really prepared the prey for him so that he would look as a great hunter- or are just seen as a byproduct of the times that Spain had to live. Director Alex de la Iglesia also cares to sprinkle the movie with historical events that are apparently disconnected to the main story -like the assassination of Franco's hard man and presumed heir as the new tyrant, admiral Carrero Blanco- but which I believe serve a function to the main metaphor that this movie is.

The movie starts in 1937, in the heat of the Spanish Civil War. A clown is recruited by force to fight with the Republican side, and manages to slaughter quite a lot of Franco's men. His young son, Javier, is traumatized by the whole event and later, in 1973, we meet him again as the new recruit in a circus, the Sad Clown. He can only be the sad clown because he is sad himself, and cannot make children laugh. They pair him up with the Funny Clown, a ruthless but charismatic man called Sergio, who turns out to be the partner to a beautiful trapeze artist, Natalia. Javi falls in love with Natalia and thus starts a rivalry between the two men for the love of a woman, with unforeseeable consequences.

The narration is so filled with colorful characters, crazy comedy, crazy violence mixed with comedy or with surreal elements, historical references, and an underlying sense of tragicomedy, and it is so excessive and full of surprises, one can't help but keep watching, much as it is over the top in many an occasion. You can enjoy the movie at face value and ride the wave of the story for what it is, but you can also watch this movie as a summary and insight into the recent Spanish history and how Spain seems doomed to always be split in two, similar people, brothers, always rivalling and even hating each other, seemingly beyond reconciliation, connecting episodes of sheer senselessness and absurdity with spine-chilling episodes of hate and violence, and all of it boiling down to a tragedy that you can only laugh at because it makes no sense.

I'm not surprised that Quentin Tarantino himself was so taken with this movie, and I wouldn't be surprised if an adaptation of this movie was made soon in an American context.

Greetings again from the darkness. Here's hoping I don't get booted from proper society for admitting a strange fascination and enjoyment from the latest directorial effort by Spanish cult favorite Alex de la Iglesia. The film is assembled with unequal parts: political parody, black comedy, dark horror, bizarre action and an even more bizarre love triangle. All of that and some of the freakiest clowns you will ever see! I am not really familiar with Mr. De La Torre's previous work but evidently he has quite a following in Spain, though he has found extremely limited success in the U.S. with The Day of the Beast. Neither am I an historical expert on the Spanish Civil War or the regime of Generalissimo Francisco Franco, both of which are targets of the director's true feelings. Still, the movie is such that it kept me engaged and even enthralled the entire time ... especially in Act I.

The film begins in 1937 when a faction of the Republican Army crash a kids' circus performance and force the performers to join in the crusade. One of the clowns leaves behind a young son as he picks up a machete and destroys a platoon almost single handedly - while still in women's clown costume! It is a visual I have yet to erase from my memory.

Forward to 1943 and the clown is forced into servitude constructing the famed Valley of the Fallen. His son tracks him down and is given "revenge" as the only redemptive action by his father. Flash forward to 1973 and the young boy is seen joining a traveling circus as the "sad clown". This circus troupe is run by the ruthless and sadistic "funny clown" who is clearly the filmmakers representation of Franco. The foreshadowing scene comes in the initial meeting between the two clowns as 'funny' tells 'sad' if he weren't a clown, he'd be a murderer. "Sad" responds "me too". Let the mayhem begin! The rivalry and violence escalates as Javier, the sad clown, is lead on and falls for the acrobatic girlfriend of Sergio, the funny clown. As the story moves forward both Javier and Sergio become more grotesque and violent in their attempts to capture Natalia the acrobat. It all ends with a breathtaking climb and operatic duel atop the memorial in the Valley of the Fallen.

There is no way to describe the trip from machete clown to the tragic dance atop the cross. It is a mash-up of Inglorious Basterds, Freaks, Machete and Phantom of the Opera. Additionally, there are countless homages to classic films through the years and a nearly operatic feel to the story and some scenes. Singer Raphael's version of "Ballad of the Sad Trumpet" plays a role, as does a crumpled trumpet. I certainly see this one becoming a regular on the midnight movie circuit, and rightfully so. It has everything a viewer could possibly want ... provided they are in a mindless stupor and looking for the best available violent clown movie currently showing!

I saw this film as part of the "Imagine" film festival 2011 in Amsterdam. It made a promising start with a good exposition of the main characters involved, the setting in which they lived (circus, civil war, etc), and personal motives behind dramatic developments later on. Actors did a great job, pictures well shot, and a perfectly fitting musical score supported the events on screen. I was fully in the mood to watch the remainder of a perfect movie. All necessary ingredients were there.

However, after an hour my appreciation changed 180 degrees. There were too many improbable situations, unrealistic events, and several inconsistencies in the story line. Apart from that, the overload of self inflicted injuries and mutual violence started to annoy me. Equally dramatic developments might have been possible with much less blood. On top of that, the finale disappointed grossly. It was obviously intended to be spectacular, but it completely failed in that respect. I did not expect a happy ending for most of the main characters, but such a massive amount of deaths and severe injuries is uncalled for.

When leaving the theater, I nevertheless gave a "satisfactory" score for the public prize competition, compensating the bad parts in the last ¾ hour with the good parts that made up the first hour. These film makers can do it, apparently, when they avoid their inclination to impress us with spectacular settings and special effects. I certainly hope they will in their next production.