Frida

Rating:
Summary: Colorful but skin-deep biopic
Review: Frida is not a bad picture, and Salma Hayek gives a pretty good performance as the tortured and talented Mexican artist. It would hardly be possible to make a dull movie about Frida Kahlo. She lived in a fascinating, turbulent period in history, incidents which are duly noted in the script, and was surrounded by fascinating people, many of whom are superbly portrayed in the film, notably the outrageously talented Alfred Molina as Diego Rivera and Geoffrey Rush as Leon Trotsky. Director Julie Taymor, of Broadway's Lion King, has an eye for colorful and stirring visuals, and even the occasional dissolves into fantastic tableaux based on Kahlo's paintings work.

The major problem, alas, is Hayek. One would like to admire her performance unreservedly given her sincerity in fighting to get this picture made. She bears a startling facial resemblance to the real Kahlo and does capture both the woman's mordant humor and her extremes of passion. What she does not capture is the physical Frida Kahlo. Here was a woman whose body was nearly destroyed when she was a teenager, a woman most of whose life was marked by constant, crippling physical pain. Barely a trace of this is evident in Hayek's Kahlo, who walks with hardly a limp, dances, climbs Mayan pyramids and bares her buff body in love scenes with both men and women. Give the scriptwriter credit for not shying away from Kahlo's bisexual nature, but the lesbian scenes have the polished aura of softcore porn, and do a disservice to the rest of the picture.

It's good that a passable, interesting film biography of this great artist and woman got made. It's too bad it isn't altogether worthy of its subject.

Rating:
Summary: GOOD ALL AROUND
Review: My sister dragged me to see this movie and i'm glad she did.I think that SALMA has good flair for producing the projects that fits her well.I won't bother you with the story, because AMAZON has done so very well.I was particularly impressed with the visual aspects like the funny KING KONG analogy when the couple go to NEW YORK and also the paintings that on some occasions seems to come alive to us.I also beleive that this biographical film tells a lot about an artist's life;the way an artist always needs further stimulations to go on.In the case of FRIDA's husband, well played by MOLINA,it's the extramarrital affairs that provides the drive.Isn't it funny the way he always toss those affairs by saying that it doesn't count for him?She finally has her revenge with TROSTKI.Finally, i'd like to say to SALMA to continue producing, because FRIDA was a pleasant surprize.

Rating:
Summary: Maybe Not for Kahlo Purists, But...Great Movie
Review: Great direction by Taymor; across the board believable acting, and brilliant visual effects of weaving the paintings of Frida Kahlo into the story line. I understand some of the Kahlo purists' complaints, but for those with a moderate knowledge of her work this will be a very satisfying movie. It's primarily the love story of Rivera and Kahlo and the story of Kahlo's artistic evolution. Of course her life encompassed much more, but how much can you say in one movie? It's vibrant, fun, exciting, emotional, sad, and it made me want to learn more about Kahlo, Mexican art and history. Hey -- that's pretty good for a movie!

Rating:
Summary: FIVE STARS IS NOT ENOUGH
Review: I WOULD LIKE TO ADD SOME WORDS TO JOE HASCHKA REWIEW. TO ACCEPT THAT FRIDA WAS DANCING AND ACTING AS A PERSON WITH A MINOR ARTRITIS PROBLEM I UNDERSTOOD THE MOVIE AS HALUCINATIONS SHE MIGHT HAVE HAD AS A RESULT OF THE PAIN KILLERS. THIS TO MAKE US UNDERSTAND WHAT WAS BEHIND THE PAINTINGS. IT IS NOT POSSIBLE TO RECOVER TO THIS POINT FROM THE ACCIDENT AND THE LONG LIST OF INJURIES MENTIONED IN THE FILM SURELLY HAD THE INTENTION TO MAKE US UNDERSTAND SHE DID NOT DO WHAT WE SEE. REALITY WAS AT THE BEGINING [TRANSPORTING HER IN BED IN THE CAMION] AND THEN WE RETURN TO REALITY WHEN HER SISTER IS GIVING HER THE INJECTION [TO HELP US RETURN SHOWING US HOW SHE LIVED]. BETWEEN THE TWO "REALITIES" IS THE STORY OF HER LIFE TOLD WITH EXCELLENCE THROUGH THE WAY SHE SAW IT WHETHER IT IS HALLUTINATION OR THE ENTRIES IN HER DIARY BOOK.

Rating:
Summary: Frida
Review: Frida is replete with references and visualizations of death and rebirth. These are not described necessarily on a metaphysical plateau, but are informed by plain metaphor, much like Kahlo's paintings themselves. Infact there are several scenes that were depicted using a device known as tableau vivant, where Kahlo envisions herself in what appears to be a painting, but is subtly animated. It is in this way that we see how Kahlo formulates her compositions that juxtapose consistently conflicting concepts (feminine identity vs. conventions of marriage, love vs. alienation, communism vs. totalitarianism vs. capitalism, rich vs. poor, envy vs. gratitude, etc.)

Early in this film we see Kahlo emerge from a plaster chrysalis inscribed with dozens of butterflies. With plaster residue clinging to her bosoms she arises, transformed by excruciating physical pain and the emotional torture of enduring a prolonged period of immobilization. Immobilization is a recurring theme in her life, which, I believe, is a primary influence in her works as most of her paintings are set either indoors or in surreal locations convoluted in her own consciousness. Further, Kahlo loses her mobility as an independent artist by living in the shadow of Rivera. Kahlo eventually (although temporarily) compromises her identity to assist and accompany Rivera to the United States. This capitulation of her integrity makes her able be his sole emotional and moral support, thus putting her in the (socially acceptable) position of a cheerleader, or one who simply views events from afar rather than participating in them.

Despite the powerful forces that Kahlo struggles against, she is still able to live a luscious and daring life. She expresses herself not only with metaphor but also with raw and emotive sexuality. Kahlo reasserts her femininity and reclaims her (sexual) power by seducing women that Rivera cheated on her with. Also, by declaring her bisexuality she is able, at least in one facet, to occupy a broad range of definitions rather than conform to a singular dialectic Marxian binary. It is through her potent sexuality that she transcends the material into the metaphysical.

Rating:
Summary: gripping Hayek performance
Review: Salma Hayek (uni-brow and all) gives a genuinely great performance as "Frida," the Mexican artist who is more famous, perhaps, as the wife of Diego Rivera than as a painter in her own right - although Rivera himself always insisted that it was Frida who had the greater talent.

Frida Kahlo was a woman who endured a life of crippling pain caused by a trolley accident in her youth, yet her innate energy, passion and love of life - as well as her enormous abilities as a painter - allowed her to overcome that daunting obstacle to achieve a measure of fame and recognition. What she was not quite so successful in overcoming was her strenuous love/hate relationship with Rivera, which came to occupy her time and her life almost as much as her painting. In many ways, "Frida" is a typical artist bio, highly reminiscent of other recent films in the genre such as "Pollock" and "Surviving Picasso," both of which also dealt with the serial philandering of their male artist figures. "Frida," however, since it is focused more intensely on the woman's perspective, offers a few new insights into that seemingly inevitable theme. Frida, in many ways, prides herself on her independent, fiery nature, yet when Rivera becomes a part of her life, she quickly succumbs to his seductive charms. She marries Rivera even though she knows he is constitutionally incapable of remaining faithful to her. Thus, she sets herself up for a life of misery with a man she is utterly incapable of living without. That the relationship is one of utter co-dependency is demonstrated by the fact that Rivera, even after their numerous breakups, keeps coming back to his one true love.

Based on the Hayden Herrera biography, the Clancy Sigal/Diane Lake/Gregory Nava/Anna Thomas screenplay doesn't paint Frida as some sort of passive victim of her own weaknesses nor as some sort of plaster saint martyr who was entirely guiltless in her own troubled life. We see, for instance, the hypocrisy inherent in her own romantic dalliances, principally her bisexual flings with other women and even the affair she conducts with none other than Trotsky himself during the period of his exile in Mexico (right before his assassination). We empathize with Frida because she functions as such a compelling figure in the context of the story, but we are never allowed to forget that she is a flawed human being, as capable of making a mess of her life as any of the men who generally occupy the lead position in these stories.

If for no other reason, "Frida" is worth seeing for the marvelous sense of history it provides, chronicling the turbulent period of the 1920's and 1930's when socialism was the "in" cause for the art world to rally around - at least until the arrival of Stalin when the pipe dream of a worker's state and a classless society fell victim to the murderous brutality of a regime more totalitarian in nature than the one it had replaced. Director Julie Taymor keeps the political issues of the era front and center, perfectly integrating them with the tumultuous relationship at the story's core. We witness, for instance, Rivera's struggle with Nelson Rockefeller when the latter commissions Rivera to paint a mural in one of his buildings. When Rockefeller, the personification of capitalism, balks at Rivera's glorification of Lenin in the painting, Rivera is forced to reexamine his own commitment to the cause he so vehemently espouses (the film makes an interesting companion piece to "The Cradle Will Rock" from a few years back). We also get to see some of the lip service paid by these artists to the socialist cause, as they live the good life among the elite pampered classes, often at the expense of the very workers whose rights they so loudly proclaim in their work.

As Frida, Hayek literally carries the film. Tender and vulnerable one moment, she can become fiery and self-confident the next. Hayak also captures much of the excruciating physical torment that Frida was forced to endure during her lifetime - and which often became the central subject of much of her art. Alfred Molina makes of Rivera a fascinatingly understated figure. His seeming world-weariness camouflages a tenderness and ability to love deeply, which, apparently, few in his life - apart from Frida - were ever able to see. Ashley Judd does a nice turn as one of Rivera's socialite devotees and Antonio Banderas makes his mark in his very brief appearance as David Siqueiros, a passionate socialist who accuses Rivera of kowtowing to the powers-that-be whom he claims to despise (Banderas is so good in the role that one regrets he isn't given more screen time). Geoffrey Rush, unfortunately, is not given enough time or good material to make much of an impression as Trotsky.

Taymor has had mixed results integrating Frida's works into the story. The director occasionally dabbles in surrealism by having Frida and Diego literally enter into the world of her paintings. Sometimes it works; sometimes it serves merely as a fancy distraction. Still, Taymor at least deserves credit for boldness in such scenes.

All in all, "Frida" provides a fascinating portrait of its heroine - and one of the best performances of the year to go along with it.

Rating:
Summary: Amazing!
Review: Thankfully none of the other actresses being considered made this movie as none could have done as wonderful a job as Salma Hayek. I have a new found appreciation for Salma and am thankful she had the passion to have Frida produced.

I first learned of Frida Kahlo 12 years ago at an exhibit at the Metropolitan Museum of Art in NY and after seeing and appreciating her work, I read the story of her life. Despite what I already knew, I was still brought to tears (both happy and sad) in the theater -- something very rare for me. Seeing the movie also reinforced my love for Mexico - another trip is absolutely needed with, of course, a side trip to Casa Azul!

Rating:
Summary: In the end, hopeful
Review: I watched this film with two women who lived through the times portrayed. As they expressed their gratitude for youthful memories authentically brought once again to life, I tried to imagine a time when the Russian and Mexican revolutions were just being betrayed; when young people, like the two mentioned, nevertheless came from around the globe to risk their lives for their vision; and endured personal and political betrayal. Yet, I'm reminded that period pieces are often more about the present than the past. May people listen to Kahlo's words to Trotsky: in life and love, we can endure more pain than we think.

Rating:
Summary: Frida
Review: An absolutely beautiful piece of work. Though some have found some of the art difficult to look at,it IS Frida. The acting, the sets, the artistry that carries us forward brings us a creation that I consider to be more than a rarity, possibly the best film I have ever seen.

Rating:
Summary: Passion and color
Review: FRIDA, with Salma Hayek in the title role, is a vibrant celebration of the life of Mexican artist Frida Kahlo (1907-1954), and an unsparing look at her tumultuous, passionate marriage to the Mexican muralist Diego Rivera (Alfred Molina). Another major thread is the involvement of both with the Communist Party. In the latter half of the film, Geoffrey Rush makes an appearance as the exiled Leon Trotsky running from Stalin's death squads.

Hayek's performance is the finest I've seen by an actress so far in 2002. An Oscar nomination is surely in the cards. Though I understand that FRIDA uncovers nothing new about the life of Kahlo not already known by devotees of her work, the film was a total revelation for me who knew nothing about the artist. And Costuming and Make-up built on Hayek's natural appearance to create the spitting image of the real Frida (whose photo I've just seen on the Web).

Visually, the film is a riot of color. I especially liked those scenes where the viewers' eyes are drawn to a brightly costumed Frida set against surroundings colored with contrasting sepia and/or pastel tones.

My only picky-picky complaint about FRIDA is its treatment of Kahlo's physical condition after the horrific 1925 bus accident that left her with multiple fractures of her pelvis, spine, ribs and leg, and which necessitated over 30 follow-up operations in her lifetime. The visual force of her paintings is generated both by her complex emotional life as well as the terrible physical pain she constantly suffered. Yet in the film, between that time she learns to walk again without a crutch and much later when she climbs an Inca pyramid with Trotsky, there's absolutely no hint in Hayek's portrayal that the artist was in any way physically debilitated beyond an inability to bear children. Where was the stiffness of movement, or the inevitable grimaces of pain? At one point, Kahlo is shown dancing with the fluidity of perfect health. As one afflicted with yet only mild arthritis in the lower back, I found this aspect of Salma's characterization perhaps unreal. However, this is a trivial hiccup in an otherwise superb performance.