La spagnola

Lucía is a 14-year-old girl living in Australia with her beautiful Spanish mother, Lola (the title refers to her and means "Spanish woman"), while her Italian father (named Ricardo) has run off with an Australian woman. Lola is a woman of fiery emotions, which she demonstrates very quickly by throwing herself on top of and then in front of the car as Ricardo attempts to drive off. She wants him back, or at least for him to pay her bills, and failing that she wants revenge. Lucía would just like a normal family and to spend time with the family chickens and the goat named Elvis.

That barely gives a hint of the flavor of the film, which is *very* quirky, often darkly humorous, and sometimes dramatic. I enjoyed individual bits (Lourdes Bartolomé steals the scenes she's in as Lucía's aunt Manola), but on the whole it didn't really work for me. Still, there's enough here to give it a mild recommendation.

This was Australia's nomination for the best foreign language film of 2001, which is an interesting concept in that Australia is an English speaking country, but this is in fact a foreign language film. It is currently playing in Europe, but the director (who was at the San Francisco International Film Festival screening where I saw it on 5/1/2002 to introduce it but not for questions) does not expect it to get distribution in the U.S.

La Spagnola had a lot of potential but didn't live up to expectations. The plot just was not strong enough. Despite fine acting this was a missed opportunity. It has its heart in the right place but not a lot really happens. Alice Ansara is a real find and is a young actor we will here a lot more from in the future.

The plot is tenuous, the action is repetitive, the cinematography is gawky industrial, the obsession with cars is cute, the multiple languages is interesting, the performances are adequate, the overall effect is "if you are tired watching Hollywood stuff you may want to check it out but then maybe not, just curl up in bed with a good book".

And if you are male, you may want to see it just for the blatant pleasure of ogling Lola Marceli in glorious 35 mm color.

What was up the previous reviewers butt, I dont know? Pure hate if you ask me. I mean, how could anyone destroy such a delightful and interestingly shot film so thoroughly as to make this reader doubt it was the same film at all?

This film was refreshing, happy, sad, completely entertaining if you want to see things done freshly with a camera and acting that takes you away into the movie itself. Reaching deep emotions quickly and coming up for air just as fast for the next scene, many times throughout, this cast held me in awe.

I reccomend this film to anyone who simply enjoys film. Period.

And if youre from some difficult childhood issues, you might even relate to the subject matter.

Oh, and take any uncomfortable objects out of your bum before viewing, please, or you'll end up sounding like that other reviewer, no matter the film.

While the DB reviewers all seem to be unsure of what to make of this film, it does indeed have a growing tradition in style with other Australian quirky movies such as Strictly Ballroom, Priscilla, and the Baz Luhrmann Red Curtain series. The staging, cinematography, execution and editing of shots are quick, colourful and energetically paced.

This allows the bizarre story to unfold, and the characters to develop, with explanations for their motivations being revealed gradually. The genius lies in Anna Maria Monticelli's beautiful script which intelligently begins to unravel events that have already occurred without explanation, all in a comfortable linear format. Such imaginative exposition is rarely given without confusing flashbacks, and is the heart of this film. I found the structure elegantly clarified all of the initially obscure scenes.

The mother Lola never becomes sympathetic, however Lola Marceli's sterling debut convinces the viewer of a person becoming truly disturbed by her transplanted identity as Spanish woman amongst Italians, in an uncaring Australian society, deserted by her husband and scorned by her neglected daughter. Alice Ansara's Lucia cool-as-a-cucumber performance is understated and believable, and all the more commendable for her excellent language skills which define her character, and serve as some of the funniest bits of business as she gently toys with her clients' own lack of linguistics.

And of course Alex Dimitriades yet again demonstrates his smouldering leading man persona which we first saw in 1998's masterful "Head On".

Lourdes Bartolomé's turn as catty sister Manola chews the lush scenery and deftly steals the show, particularly in the dancing and cooking sequence! I might point out that she is most entranced by a courgette (zucchini), rather than a cucumber, as one reviewer has written...