Son de mar

it is not a great film. only a Bigas Luna. romantic, sexy, dramatic, cruel. victim of clichés , saved buy Eneida quote, it is a beautiful not surprising film.its key - Bigas Luna vision about a story who has basic mixture of salt and honey. the slices of soap drama, the nuances of acting, the love scenes makes entire plot not realistic but decent for many of viewers. only problem - the expectations. the impression than the story is the same like many others. but the real virtue is only its role of clean story. not extraordinary , not amazing. only as a form of remember of pink novels and essence of not happy love stories. so, just a Bigas Luna. and a silk story about love.

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 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

Captivating cinematography. Unfortunately, I can't say the same thing about the script. It's romance at full speed. First thing you know, Ulises and Martina are getting married. But "from loving to not loving", the road is not as long as Ulises believes. Soon enough, Infidelity enters the room and does it's dirty job. We soon realize that Death is already in the room. But wait, she's feeling powerless today. One thing's for sure: it can take a long time to catch a tuna!

Leonar Watling is sublime. She captures the screen every time she appears. But the rest of the cast is not as interesting. And there's some scenes where you really don't feel the emotion. After a while, I found myself looking at my watch every few minutes. A few times, I felt like shouting "I get the point!!! move on!" But I have to say that the last scene on the boat is quite surprising and captivating.

Seen at home, in Toronto, on March 5th, 2006.

71/100 (**)

The first part of the movie is very intriguing and the contrast between Martina's quiet satisfaction with her life and her husband's undying need from freedom is both startling and emotionally charged. The second part, however, left me unsatisfied since the established conflict never gets solved and the final twist, albeit suggestive, felt anticlimactic and empty.