Flamenco
Spain 1995
Reviewed by Jos Arroyo
Synopsis
Our synopses give away the plot in full, including surprise twists.
In the old Plaza de Armas train station in Seville some of the greatest exponents of flamenco show off their artistry by playing, dancing or singing in various styles including bulerías, guajiras, alegrías, soleas, tangos, villancicos and farrucas.
Review
While lovers of the musical mourn its passing in Hollywood, Carlos Saura - Spain's greatest director of art cinema in the 60s and 70s - has diligently produced a body of remarkable films in the genre. From the flamenco trilogy he made in the 80s (Bodas de sangre, Carmen and El amor brujo) to more recent forays such as Ay, Carmela!, Sevillanas and Tango, Saura has now spent 20 years paring down the musical, adapting it to Hispanic forms of music and dance and collaborating with the greatest dancers, choreographers and musicians of flamenco and tango. With the possible exceptions of Vincente Minnelli (An American in Paris, 1951) and Bob Fosse (All that Jazz, 1979), no one has filmed dance better; certainly no one is doing it better now.
Flamenco is deceptively simple. Initially one wonders if it's a documentary. The setting is the old Plaza de Armas train station in Seville, transformed into an impromptu performance space. The structure of the film is quasi-educational: some of the most acclaimed contemporary performers demonstrate their virtuosity in the various styles flamenco takes, impressing us with the range, depth and expressivity of the form. The brief voiceover at the beginning tells us that flamenco has its roots in the mixture of peoples, religions and cultures in Andalusia in the south of Spain. There, a combination of Arabic jarachas, Greek choruses, Castilian epic poetry, Jewish lament and black music from Cuba (son) received a gypsy accent and developed into flamenco as we know it today.
We soon realise, however, that Flamenco is less a straight documentary than an intensely creative response to the aesthetic and cultural particularities of flamenco dance and music. Through its theatrical presentation, striking cinematography by Vittorio Storaro (Last Tango in Paris, 1972) and minimal but vivid set design, Saura's mise en scène gives visual expression to flamenco's vibrancy. All the singers and dancers are filmed in front of modernist settings: brightly coloured circles, squares, triangles and rectangles. These shapes shift and blend within the frame to create a sparse but dramatic context for the performers; the visual strength of Saura's film thus lies in its formal hybridity and adaptability, both of which are essential properties of flamenco.
Saura also uses light and shadow as key elements in the look of the film. Dancers enter into the light, then disappear out of it and encircle it. The line of their bodies and their responses to the beat of the music are rhymed with or used as counterpoint to the play of light and shadow on screen. Mirrors create a sense of depth: feet are seen close-up while the rest of the body is visible as a reflection. Camera angles are chosen to capture formations of dancers while never losing sight of the individuals involved; camera movements similarly respect the bodies, skills and co-ordination of the dancers and the gathering force of symmetry. The editing is co-ordinated not only with music but with line.
Aspects of star persona aren't forgotten in the staging either: Joaquín Cortés, arguably the biggest star in the film, is shot at a distance distinctly greater than that of the other performers. Though his trademark long mane and bare chest are visible, the camera, in emphasising the body in movement (through medium long-shots) rather than the individual performer, draws our attention away from Cortés' show-business persona and highlights his impressive talents as a dancer.
Flamenco is a music of the dispossessed. While the dance is capable of describing and evoking fiery passions, these intense feelings are more often about bread than sex. Songs here tell of hunger, betrayal, Jesus being turned away from the inn. Flamenco's wail often reminds people of American blues because it articulates emotional and social wants and yet, through its raw and abundant expressive power, it simultaneously seems to answer these wants: shared singing and dancing thus offer a magical compensation.
In keeping with the utopian sensibilities of many Hollywood musicals, Saura shows us old dancing with young, professional performers alternating with people seemingly off the street, the haggard and worn dancing alongside the sleek and well nourished. By the end of the film, all these individual dancers and singers come together in a dance that breaks through previous scenes of individual pain into a joyous sharing. The dispossessed are here seen to come together in a community of plenty, immediacy, transparency and energy. Saura doesn't skimp on the pain that gives rise to and finds expression in so much flamenco; but working with a troupe of some of its best practitioners, he transforms it into art, and thus into a kind of joy. It's simple but it is so in a way only great films can be - simply great.
Credits
- Director
- Carlos Saura
- Producer
- Juan Lebrón
- Screenplay
- Carlos Saura
- Director of Photography
- Vittorio Storaro
- Editor
- Pablo del Amo
- Art Director
- Rafael Palmero
- ©Juan Lebrón Producciones, S.A.
- Production Companies
- A Juan Lebrón Producciones production with the participation of RTVA Radio Televisión de Andalucía and with collaboration of Sogepaq/Canal+
- España/Junta de Andalucía/Sociedad General de Autores y Editores
- Executive Producer
- José López Rodero
- International Production
- Mauro Sacripanti
- Production Manager
- Carlos Regidor
- Assistant Director
- Carlos Saura Medrano
- Script Supervisor
- Carmen Soriano
- Casting
- Macandé
- Pulpón Management
- Camera Operators
- Julio Madurga
- 2nd Unit:
- Enrico Umetelli
- 2nd Unit Steadicam
- Tito Karla
- Set Dresser
- Jesús Pérez
- Costumes
- Rafael Palmero
- Make-up
- Pedro Camacho
- Miguel Sese
- Hairstylists
- Esther Martín
- Francisca Guillot
- Titles
- Peter Govey Film Opticals
- Music Director
- Isidro Muñoz
- Musical Adviser
- José Luis Ortiz Nuevo
- Soundtrack
- "Bulerías" - La Paquera de Jerez, guitar: Moraíto Chico, Niño Jero, dancers: El Mono, Dieguito de la Margara, Sebastiana, Manuela Nuñez, singers: Barullo, Fernando de la Morena, El Torta; "Guajira" - Merche Esmeralda, dancers: Grupo de Baile de Merche Esmeralda, guitar: José Antonio Rodriguez, percussion: José Alvaro Carrasco, singer: Pepe de Lucía; "Alegrías" - Manolo Sanlucar, guitar: Juan Carlos Romero, percussion: Doctor Keli, choir: Las Peligro, singer: Diego Carrasco; "Farruca" - Joaquín Cortés, guitar: Pedro Antonio Jimenez, cellist: Fernando Anguita, violin: Juan Pablo Nunez; "Martinete" - Manuel Moneo, Agujeta; "Martinete" - Mario Maya, dancers: Grupo de
- Baile de Mario Maya; "Fandangos de Huelva" - Paco Toronjo, Antonio Toscano, guitar: Juan Carlos Romero, José Antonio Rodriguez, accompanied by Grupo Cane; "Soleá" - Fernando de Utrera, guitar: Paco del Gastor; "Petenera" - José Menese, María Pagés, guitar: José Antonio Rodriguez; "Siguiriya" - Enrique Morente, guitar: José Manuel Cañizares; "Soleá" - José Mercé, Manuela Carrasco, guitar: Moraíto Chico, Joaquín Amador; "Soleá" - Farruco, Chocolate, Farruquito, accompanied by Familia Farruco, guitar: Ramon Amador; "Taranta" - Carmen Linares, guitar: Rafael Riqueni; "Tangos" - Juana La Del Revuelo, Remedios Amaya, Aurora Vargas, guitar: Quique Paredes, Martin Chico; "Villancico" - La Macanita, guitar: Juan Parrilla, Niño Jero, accompanied by Coro de la Pena Tio José de Paula; "Poema por Bulerías" - Lole y Manuel; "Tangos" - Paco de Lucia, bass: Carlos Benavent, guitar: Ramon de Algeciras, flute: Jorge Pardo, percussion: Ruben Danta, El Grilo; "Alegrías de Cádiz" - Matilde Coral, Rancapino, Chano Lobato, dancers: Escuela Flamenca de Matilde Coral, guitar: Paco Jarana; "Bulerías" - Potiro, Duquende, Belén Maya, El Grilo, Tomatito; "Rumba" - Manzanita, Ketama
- Rumbas Finale Choreography
- Matilde Coral
- Sound
- Chris Munro
- Jesús Bola
- Gerry Humphreys
- Andrew Glen
- Playback Recording
- Miguel Angel Maguesin
- Digital Sound Editor
- Nick Lowe
- Cast
- La Paquera de Jerez
- Merche Esmeralda
- Manolo Sanlucar
- Joaquín Cortés
- Manuel Moneo
- Agujeta
- Mario Maya
- Paco Toronjo
- Antonio Toscano
- Fernando de Utrera
- José Menese
- María Pagés
- Enrique Morente
- José Mercé
- Manuela Carrasco
- Farruco
- Chocolate
- Farruquito
- Carmen Linares
- Juana La Del Revuelo
- Remedios Amaya
- Aurora Vargas
- La Macanita
- Lole y Manuel
- Paco de Lucia
- Matilde Coral
- Rancapino
- Chano Lobato
- Potiro
- Duquende
- Belén Maya
- El Grilo
- Tomatito
- Manzanita
- Ketama
- Guitars
- Pedro Antón Jimenez
- Quique Paredes
- Martin Chico
- Stamping, Shouting & Clapping
- Agustín Monje
- Agustín Romero
- Antonio Carpio
- Antonio Carrasco
- Antonio Lara
- Antonio Medina
- Bo
- Carmen Castillo
- Chicharito
- Dolores Nuñez
- Esperanza Lara
- Gregorio
- José Vargas
- Lourdes Moreno
- Luis Vargas
- Luisa Carrasco
- Macarena Moneo
- Manuel Soto
- Mercedes Blanco
- Mercedes Guerrero
- Rafael Fernandez
- Teresa Montoya
- Bobote
- José Santiago
- Juan Carlos Santiago
- Martin Revuelo
- Electrico
- Antonio Fernández
- Pastora Jimenez
- Pilar Montoya
- Rosario Montoya
- Antonio M Tejada
- J. Manuel Mateos
- M. Gutierrez
- Percussion
- José Alvaro Carrasco
- Doctor Keli
- Enriqueta Molina
- Tino Di Geraldo (Playback)
- Ruben Danta
- Juan Manuel Mateo
- Melchior Moreno
- Jarillo (Playback)
- Bobote (Playback)
- Electrico
- Carlos Ruiz
- Javier Benegas
- Violin
- Juan Pablo Muñoz
- Cellist
- Fernando Anguita
- Dancers
- Grupo de Baile Mario Maya
- Marco Antonio Vargas
- Israel Galban
- Grupo de Baile Merche Esmeralda
- Aranzazu Gago
- Daniela Tuques
- Eva Isabel Barrios
- M Belén Peña
- Maria del Puerto García
- M Estefania Palacio
- Magdalena García
- Raquel Gómez
- Escuela Flamenca Matilde Coral
- Alicia García
- Ana M Rasero
- Antonia Muñoz
- Cinta Barbadilla
- Adela Muñoz
- Gracia E. López
- M Angeles Guerra
- M Luisa Díaz
- M Reyes Daniel
- M Reyes Romero
- M Teresa Gabriel
- M Victoria Herrera
- Rosa M González
- Susana Casas
- Victoria E. Betanzos
- Coro de la Pena Tio José de Paula
- Juana Montoya Jimenez
- Manuel Montoya Jimenez
- Manuela Sánchez Blanco
- Dolores Loreto Jimenez
- Teresa Montoya Blanco
- Mercedes Blanco
- Juana Ferrer
- Manuel Peña Vargas
- Manuel Flores Fernandez
- Manuela Reyes
- Carmen Rodriguez Giraldón
- Josefa Rodriguez Aparicio
- Enrique M. Soto Monje
- Gabriela Nunez Jimenez
- Juan Fernández Sánchez
- Francisca Montoya Jimenez
- Luisa Silva Vázquez
- Eduardo Monja Montoya
- Antonia Castañeda Penal
- Antonia Cánovas Medina
- Manuel Fernandez Rodriguez
- Carmen Pantoja Bellido
- Carmen Pulido Moreno
- Choirs
- Las Peligro
- Carmen Amaya
- Joaquina Amaya
- Marta Amaya
- Grupo Cane
- Alejandro Cruzado
- Ana M Huerta
- Cristina Huerta
- Flores Cárdenas C.
- Francisco Millan
- José M Ruiz
- Josefa Hermosin
- Manuel Millán
- Manuel Pozo
- Manuel Pozo G.
- Maria Garrido
- Marisol Toscano
- Nuria del Rocio
- Rafael Barba
- Rafael Quintero
- Rocio Castro
- Familia Farruco
- Antonio Fernández
- Juan Fernández
- Juan Manuel Fernández
- Pastoria Jimenez
- Pilar Montoya
- Rosario Montoya
- Certificate
- U
- Distributor
- Metrodome Distribution Ltd
- 9,208 feet
- 102 minutes 19 seconds
- Dolby Stero Digital SR
- Colour by
- Technicolor
- Subtitles