A review: "Cambio de Sexo" [1977 Spain]

One of Vicente Aranda's lesser known (and until recently, quite rare) films, "Cambio de sexo" [Eng. Title: Forbidden Love] was also the beginning of a collaboration with his life-long muse Victoria Abril. The film, about a hitherto taboo topic concerning gender identity and sex-change, remains a landmark in Spanish mainstream cinema despite any of its technical shortcomings.








Seventeen year old José María (Victoria Abril) is a gawky effeminate lad who's bullied and harassed at school for his looks and inability to fit-in, to the extent that the school even suggests moving him to a different school. Furious at the suggestion and determined to man up his son, José María's father (Fernando Sancho) sends him away, boot-camp style, to his uncle in the countryside to get used to some hard manual labour. What the father fails, or refuses to understand is that José María actually sees himself as a girl trapped in a boy's body.

Consequently, the father takes José María to a cabaret-brothel to initiate him in  heterosexual sex with the help of Fanny (Rosa Morata), the lead performer and also one of the father's lovers. Things obviously don't go as predicted for the father and before long, José María had left home unannounced to begin life anew as María José in glitzy downtown Barcelona.

Working as a hairdresser, María José meets and gets acquainted with Bibi Andersen (Bibi Andersen), a star transsexual performer at the cabaret she visited with her father earlier. Bibi introduces María José to the cabaret owner and also becomes her mentor by giving her some much needed worldly advice and encouraging her to train as a cabaret dancer.

As María José's showbiz career blossoms and adulthood beckons, she goes through the familiar exhilarating, and at times painful journey through rejection, defiance, and camaraderie, and in the process discovers love. The film ends with María José successfully transitioning into a woman after gender reassignment surgery.

Even though the teenage Abril was already a well known name in Spain through TV when the film came out, she had yet to find her feet in cinema, and this film would mark the beginning of Victoria Abril's stellar career. It goes without saying that apart from her exemplary performance, Victoria Abril is at her adorable best. I couldn't resist sharing this rather subversive scene from a sequence that's disturbingly reminiscent of a oh-so-innocent Judy Garland from The Wizard of Oz. "Mi cosita" is anything but, and is surprisingly also well choreographed.

A unique product of Spain's destape, the film succinctly captures the spirit of openness, liberty, and optimism following the end of Spain's fascist era. While the amazing Bibi Andersen - a transgender in real life, had been a regular in Almodóvar's twisted classics, she often played the female even when there were transgender characters in the same film; those roles were typically played by women. This is one of the rare films where Bibi Andersen actually plays herself. For followers of Spanish cinema and its evolution, this film is essentially Recommended Viewing..!

Amazon Blu-ray Link [Region 2]

 

The Nudity: Rosa Morata, Maria Elias, Victoria Abril, Bibi Andersen, and others
As one would expect, the film features several scenes of nudity. Rosa Morata and others appear nude on stage during a cabaret. Maria Elias who plays María José's sister is seen briefly nude while changing. Victoria Abril is nude often, including a couple a scenes on stage, and Bibi Andersen performs a memorable striptease.

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Highbrow destape: "La muchacha de las bragas de oro" [1980 Spain]

If Vicente Aranda's groundbreaking exploration of sexual identity in "Cambio de sexo" made destape (a Spanish 'Glasnost' of sorts during and after Dictator Franco's final years, when censorship was relaxed) purposeful, his next feature, "La muchacha de las bragas de oro" [Eng. Title: Girl with the Golden Panties] with a nuanced articulation of the need for women's individual freedoms, made destape almost respectable. Films associated with this period were normally seen as little more than skin-flicks keener in disrobing rather than understanding women, not that either of these were entirely a bad thing, of course. It will, ironically, also propel the star of both the films, Victoria Abril, into becoming a household name and international sex symbol for well over a decade.

The film is set in Barcelona, where Luis (Lautaro Murúa), a retired member of the previous Franco regime, is writing his memoirs in the splendid isolation of his spacious villa, with a dog and housekeeper as his only company. He isn't overly perturbed when his niece Mariana (Victoria Abril) arrives with her photographer friend Elmir (Perla Vonasek) - Mariana after all, is here only to write an article about his forthcoming autobiography for a magazine she works in, and also to help out in typing his manuscript.

But it does turn Luis's life inside out, because with her visit, his real past - not the one he'd been concocting in his memoirs, returns to haunt him and his conscience. Mariana, who wears no undergarments save the body-painted gold panties that Elmir meticulously paints on her person, is a wild and carefree young woman, openly indulging in drugs and taking lovers from both sexes as she pleases. Before long, Luis also discovers that Elmir is actually a woman, and that she and Mariana are lovers. For a former Falangist, he displays remarkable restraint even when Elmir brazenly gropes Mariana in his presence.

Years ago, Luis used to love and date Mariana's mother, Mari (Raquel Evans), before a mix-up in a darkened room forced him to marry Mari's sister Soledad (Isabel Mestres) instead. Mari also went on to marry his best friend José María (Josep M. Lana), but not before a one-night stand with Luis. After pealing away the layers of lies he had hidden behind, Mariana finds the vulnerable Luis desirable, and even succeeds in seducing him. But a secret about Mariana's real father will come out in the open when an older Mari (Hilda Vera) visits Luis to check up on her daughter. But will the truth really matter to Luis or Mariana any longer..?

The story, based on an award winning novel by fellow Catalan author Juan Marsé, touches upon hitherto taboo topics such as lesbianism and incest, and questions the validity of a conventional family unit in the modern age. They were shocking subjects for their time, and Aranda always excelled in shocking his audience (sometimes I wonder if this is also a Catalan quirk). In the technical department, there is a marked departure for the better from his earlier films despite the tight budget, and the soundtrack is also appealing. The film can be considered a milestone for Vicente Aranda, emerging from a genre-film maker into a mainstream dramatist, and for Victoria Abril, from a talented actress with tomboyish looks to a sex symbol of the eighties; at twenty years old, Ms. Abril was in the prime of her youth in this film. At least for these reasons, the film should be of interest for both the fans and those interested in Spanish culture, even more so after it has been released on Blu-ray.

Amazon Blu-ray Link

 

The Nudity: Victoria Abril, Perla Vonasek, and Raquel Evans
Victoria Abril's Mariana comes out as a hedonistic, naturist and exhibitionist, and perhaps appears nude onscreen for longer than in any other film in her illustrious filmography - obviously all good reasons to cheer about. Perla Vonasek plays the bisexual and frequently whistle-blowing Elmir/Elmira. South American beauty and destape-queen Raquel Evans appears only briefly nude on a couple of occasions in Mariana's fertile imagination when Luis opens up about his past.



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A film review: "El amante bilingüe" [1993 Spain]

Vicente Aranda isn't particularly renowned for comedy, because he hardly makes any - passionate melodrama is his preferred cup of tea. That's why "El amante bilingüe" [Eng. Title: The Bilingual Lover] stands out in his filmography, for trying to be one.
















Set against the backdrop of resurgent nationalism in seventies Barcelona, the film is about an unusual romance between an oddly matched couple; Norma (Ornella Muti) is a wealthy and pretty Catalan woman, where as Juan Mares' (Imanol Arias) just another 'immigrant' (i.e., not from Catalunya), street-hawking his talents along the famed La Rambla boulevard. They marry after a whirlwind romance.

Returning early from work one day, Juan surprises Norma and a shoe-shine boy (Javier Bardem) frolicking in the bedroom, nude. Norma rebukes him for his unannounced entry and leaves home in anger, but allows him to stay in the flat that she owns. Fired from his job at the family business, Juan heads back to the streets where he plied his trade earlier.

One day, he becomes the target of an apparently random petrol-bomb attack by a group of skinheads and gets disfigured, loosing an eye in the process. Ashamed of his disfigurement, he dons a mask, and broods his fate in the apartment that he once shared with Norma. He misses her; often calling her at work just to hear her voice while pretending to be someone else, Juan will also confront her on streets disguised, and hurl a mouthful of choice expletives at her in Catalan, which he knows will only turn her on - she loves being talked dirty to in that language.

After inventing a new 'look' for himself, Juan will practice his seduction techniques on lonely neighbour Griselda (Loles León), who'll duly be taken by his 'mysterious persona'. With the new found confidence, Juan will plan a scheme that'd enable him to strike up a new relationship with Norma. He'll pretend to be Juan Faneca, a childhood friend of his, who'll be the last person to have seen Juan Mares alive...

While the storyline is quintessentially Catalan, it is also not a comedy that'll cheer audience immensely. Vicente Aranda, by mixing lighter moments with his customary dark satire, has tried to make a film that would generally be associated with fellow Catalan Bigas Luna, whose hugely successful Jamón Jamón coincidentally reached a new and wider world audience only the previous year. There are, of course, several uniquely typical Vicente Aranda symbolisms and moments on display. The house that Juan lives in has tiles constantly falling off the brickwork - a critique of crumbling family and society. A totally blind hotel receptionist, who can also foretell future, advices a half-blind Juan not to give up, since his predicament might just be slightly better off than hers.


Also typical of Aranda's films are the passionate, if slightly unconventional scenes of sex that they often feature, alongside a non-PC sense of humour. Ornella Muti and Imanol Arias were established stars but the rest were rising fast too, like Javier Bardem who appears in just a single scene but certainly creates an impression, and an uncredited Maribel Verdú who appears for no more than four seconds, playing a saxophone. Ms. Muti is as bold and classy as ever, and while this may not be Arias' best film, it is at least a different role to the ones he's used to. Whether you love or hate Vicente Aranda films, you'll certainly find them remarkably original, and for want of a better word - 'memorable' even. This film isn't any different.

Amazon.it DVD Link [PAL] | English Subtitles



The Nudity: Ornella Muti, Javier Bardem, Loles León, and Imanol Arias
Prepare yourself for some kinky goings-on and dirty talk during the film's sex scenes. The leading lady here likes to play with her lovers using a shoe (and both Bardem and Arias enthusiastically oblige), and in one scene Ms. Muti also begs Juan to pee while still inside her - they'd just finished having sex and he was about to pull out, to use the toilet. There's also a scene of a voluptuous Loles León purring as she invites Juan to join her in bed. Spaniards are indeed a fascinating people when it comes to sex..! :-)



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Aitana Sánchez-Gijón and others in "Celos" 1999 Spain

Vicente Aranda has never been known to mince words, at least as far as his films were concerned - he relishes exposing dirt from under the carpet, and his drama "Celos" [Eng. Title: Jealousy] is no different - Spanish jealousy (particularly male) is almost a cliché in my neck of the woods, even if it's not particularly a hot topic in Spain.

Storyline:
It all starts when truck driver Antonio discovers an old photograph of Carmen embracing a handsome young man, and wonders if they were once lovers - he's after all about to marry her in a few days. However, despite Carmen's insistence to the contrary, Antonio couldn't let it lie, and goes to extraordinary lengths to determine the man's identity and history. The more he digs the past, stranger the facts emerge, that will threaten his relationship with Carmen and their marriage. Through his obsession, he develops a one-sided relationship with a man he'd never even met, built on half-truths fed by friends - both his and Carmen's. It is now apparent to him that in order to return to normalcy, he'll need to 'erase' from his mind José - the stranger in the photograph, one way or another...

This is my second review of the film, but it merely reinforces the fact that Sr. Aranda needn't particularly worry about it sparking jealousy from other film makers - this is nowhere near the standard of his earlier classics. The biggest problem with the film is its screenplay, which fails to articulate the complex set of emotions and circumstances that leads to jealousy. Antonio's reactions outrageously take leave of common sense, and all his repetitive episodes, without giving tangible reasons for his obsession, only make us loath him. As does the character we're supposed to feel empathy with - Carmen - she desperately tries to convince Antonio of his sexual prowess by exaggerating her orgasms, ostensibly to make him feel less insecure, but it has the opposite effect. The only noteworthy aspect of the film is the performance by Aitana Sánchez-Gijón playing Carmen, who despite her character's limitations, manages to keep us seated. But there are far better films out there that have delved into jealousy - Chabrol's Une Partie de Plaisir is just one example. This film however, is for Vicente Aranda completists only.

Amazon DVD Link
English Subtitle

 

The Nudity: Aitana Sánchez-Gijón, Daniel Giménez Cacho, and Itziar Miranda
As can be expected from Vicente Aranda, this film also features sex and nudity, but alas, they still fail to raise it beyond the mediocre.



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Victoria Abril & Maribel Verdú in "Amantes" [1991 Spain]

Having been fortunate to have gone through most of Vicente Aranda's filmography, I can safely opine that this veteran director loves women and has great respect for their role in Spanish society. The ubiquitously named 1991 drama "Amantes" [Eng. Title: Lovers] is a typical example. I think it is one of his more deeper films which will be totally lost on anyone watching it casually. As I did when it was aired on TV many years ago. It is a film for mature adults, which I wasn't. But some of the images are strong and unforgettable whether you understand the film or not.

Storyline:
Based on a true story, the film depicts a torrid love triangle that ended in murder during mid-fifties Spain. Paco is discharged from Army and moves in as a tenant of widow Luisa. He is lazy, ignorant, weak, and opportunistic - in sharp contrast to his apparent good looks which women are drawn to. He is engaged to pure-at-heart, virginal, and sincere Trini, who works hard as a housemaid to earn a living and save for a rainy day. His frustrations with her refusal for physical intimacy before marriage draws him to the older, experienced and still attractive Luisa, who's been around the block a few times. Trini, aware of his relationship with his landlady, tries to win him back. But Luisa's sexual prowess and seductive appeal completely clouds Paco's sense of vision and reason, and his inability to distinguish the good things going for him is graphically illustrated for all to see.

Paco, Luisa, and Trini - extreme caricatures in themselves, are drawn with the purpose of showing the contrasting ways in which characters can pursue a common interest - which is essentially about trying to live happily ever after. The characterisation is equivalent to having a strong cup of coffee in order to stay awake - to understand if not appreciate why people behave the way they do. What makes this film special is the convincing portrayal of the characters by the main actors. Both, Victoria Abril who plays Luisa, and Maribel Verdú who plays Trini give exceptional award-winning performances, and this is also the only film to date that won Vicente Aranda a Goya. It obviously isn't everyone's cup of tea, but for the open-minded, definitely refreshing, and Recommended Viewing..!

Amazon.es DVD Link




Compilation: Victoria Abril and Maribel Verdú
There's only brief female nudity in the film - it focuses primarily on what the women see and like in Paco (played by a young and handsome Jorge Sanz), and obviously it is not his wit, charm, or charisma. The scenes are nevertheless erotic, and relevant to the blog. This is from an old letterboxed edition DVD that I've had for a while.



Scene Guide:

• Luisa explores Paco like a new land she'd just conquered. Luisa is played by sirena española Victoria Abril.
• Luisa imparts her worldly knowledge on willing pupil Paco - apparently there 'is' something called the male 'g-spot'. This scene will certainly stay with you for a while, whether you like it or not! ;)
• Treni visits Paco after making sure his landlady had left. Determined to win him back, she sets aside morals and offers herself readily in an unceremonious fashion. Aranda questions the inherent value of virginity itself in this scene. Treni is well played by a young, beautiful, and sexy Maribel Verdú.

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Ana Belén in "La Pasión Turca" [1994 Spain]

Veteran Catalan director Vicente Aranda's passionate melodrama, "La Pasión Turca" [Eng. Title: Turkish Passion] is probably not the best way to start the filmography of Ana Belén, one of Spain's important singer-actresses, who was also one of the faces of her country's 'Destape' transition years, when censorship was first relaxed. I fear Sra. Belén may have been terribly miscast in this film. I haven't read the novel from which it was based, and judging solely by the script and screenplay - I presume the character played by Ana Belén must either be a dumb nymphomaniac or someone with an obsessive dependence on her lover. Against common sense, her character returns to an abusive and overbearing relationship with a lover who can do little else but take. The film also casts a clichéd and outdated view of Islamic society, with undertones that could be considered racist. But then again, this is a film from a different era, and what may be considered unacceptable now may have even been tolerated then.

Technically though, the film is masterfully put together, with some excellent camera work and editing, supported by some sumptuous locations and a fabulous soundtrack. There are some individual words of brilliance here and there (probably from the novel) but on the whole, the script appears to have been compiled in a hurry. The performances are also just about average - may be they didn't have much to work with. The film had all the ingredients for a passionate Spanish drama - perhaps the chemistry wasn't right. I'm a great fan of Sr. Aranda's early films, many of which were quirky and daring, but this is definitely not one of his better works - his best in my opinion was made some ten years earlier (Fanny Pelopaja) which I'll post in due course.




Storyline:
Newly wed Desideria and Romiro accompany other members of the family on a holiday to Istanbul - she'd been unhappy of late after being diagnosed 'frigid' by her gynaecologist. During their stay, she's drawn to their tourist guide Yaman and instantly embarks on an affair - getting away briefly from family for their quick but passionate sex sessions. People have affairs for various reasons, and it is these variations that make them such a popular film-theme, but what Desideria is seeking through her affair is left unexplained. Upon returning to Spain, she discovers she's pregnant (some diagnosis, huh!), just when husband Romiro is informed that he's sterile. Obviously there's no room to lie, and they decide to keep the child after she promises not to have relations with Yaman anymore.

But after the child dies (cot-death?) Desideria decides to leave her accommodating husband and head back to Turkey, only to discover Yaman's not only married, but also no longer a tourist guide but a drug trafficker. Just as she's getting used to the idea of having to be someone's mistress for the rest of her life, comes a nasty surprise - Yaman now demands she 'satisfy' some of his 'important' clients too. She runs away humiliated, but returns - enthusiastically having sex with whoever Yaman asks. But after she realises that Yaman too has sex with other clients, she feels betrayed. I really don't know what to make of this film having seen it thrice over the years, and each time while I tried to look for some subtle nuance I might have missed earlier, I didn't find any!




Compilation: Ana Belén and Laura Mañá
Made from several brief scenes, some of which don't contain nudity.



Scene Guide:

• Desideria and Romiro on their wedding night - apparently they haven't made love before this. Desideria is played by Ana Belén, in her forties, but still quite attractive.
• No nudity but kinky, as Desideria allows tour coach guide Yaman to grope her in a dark corner while her husband and family stand not too far away.
• Desideria returns to the empty coach for a waiting Yaman after giving her family some excuse to leave them.
• Just before leaving to Spain, Desideria visits Yaman at his uncle's carpet shop to have sex. They depart affirming their love for each other.
• Desideria returns to Turkey to be with Yaman after her child dies. She tries to impress Yaman by dressing up as some belly dancer, much to his dislike. He also tells her off for behaving unnaturally while making love - she pleads him to return to bed.
• No nudity - Desideria is shocked when a customer touches her in Yaman's presence.
• She returns to Spain, and decides to spend the night with a stranger she'd just met at a park - so as to see "what it is like to make love to a man other than Yaman". Needless to say, she returns to Turkey soon afterwards..!
• After punishing Desideria for running away from him earlier, Yaman shows her what she'd been missing.
• Desideria spends the night with one of Yaman's clients.
• When Desideria returns the following morning dressed in new clothes - a gift from the client - Yaman reminds her who's the better lover. Desideria gladly obliges - she's pleased to see his jealousy.
• Next up, with a German customer who likes to do it all himself - Desideria only had to clean herself up afterwards..!
• She returns home early to see Yaman busy with a French couple - Blanche is taking a break while he's busy with the guy(!), "Our reinforcement has arrived", exclaims Blanche mockingly. Slutty Blanche is played by none other than Laura Mañá, who plays the rather homely young mother in Bigas Luna's "La Teta y la Luna"..!

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Pilar López de Ayala & Manuela Arcuri in "Juana la Loca" [2001 Spain]

Vicente Aranda's "Juana la Loca" [Eng. Trans: Juana the Mad, Eng. Title: Mad Love], was the first of three period pieces he made in succession - the other two - "Tirente el Blanco" and "Carmen" are already featured here. It is also the best of the three, aided by an impeccable performance from Pilar López de Ayala, the actress who plays Juana, the unfortunate queen of Castile and daughter of Ferdinand and Isabella.

Based on a play, the film begins her story about four years after the new world discoveries, when sixteen year old Juana is sent off to Flanders to marry Philip of Burgundy to formalise a political alliance. The marriage however turns out to be a failure, for despite Juana being 'madly' in love with husband Philip, he was more interested in nothing more than usurping her power. Her father Ferdinand too conspires to restrict her powers, and rumours are circulated of Juana's presumed insanity, questioning her fitness to govern. She's confined in a convent for the next forty seven years, and remained queen in name only until her death. There are several major events covered in the film which I've skimming past - those interested can use this link to explore more of Juana's story.

Needless to say, the film has pretty high production values, especially the costumes, set design and art direction. Just as impressive is the cinematography, direction and editing. The film was nominated for no less than twelve Goya awards the following year, of which it bagged three. Recommended Viewing.




 

Compilation: Pilar López de Ayala, Carolina Bona, and Manuela Arcuri



Scene Guide:

• Philip decides to get acquainted with his wife-to-be, the young and innocent Juana, even before the wedding - and he seems to have done a pretty good job taking her royal virginity, as she doesn't let him leave afterwards. Juana is excellently played by the cute Pilar López de Ayala.
• A month after their first child is born, Juana wants Philip to feel her lactating breasts, but makes his excuses and leaves.
• No nudity - A desperate Juana spreads her legs for Philip on the dining room floor.
• Inés is the queen's handmaiden - apparently nipple-painting was one of the pass times of Flemish gentry. When the artist coaxes her into revealing for whose pleasure she's making all the effort, she laughs her way out, but is nevertheless caught red-handed while in bed with Philip. Inés is played by Carolina Bona.
• Philip is enchanted by Moorish beauty Aixa - claimed to be of regal stock herself, but now forced to make a living by displaying her natural charms at a tavern instead. She also seems to have a keen interest in witchcraft, and is possibly seeking revenge for her people loosing their kingdom to catholic kings. Aixa is played by sultry Italian bombshell Manuela Arcuri.

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Flora Martínez & co in "Canciones de Amor en Lolita's Club" [2007 Spain]

When it comes to a Vicente Aranda film, one knows what to expect - his characters will not be able to contain their passion - they'd indulge themselves despite the consequences. His drama "Canciones de Amor en Lolita's Club" [Eng. Trans: Love Songs in Lolita's Club] starts off in a similar fashion but strays off aimlessly, partly due to the screenplay. Perhaps he was experimenting with some new themes, but were abandoned half way - I haven't read the novel, but from what I see, it carries several half-developed sub-plots, and that time could have been better used to work on the main plot and characters.

Technically, it is as good as can be expected from Sr. Aranda, even if there was nothing too challenging here. The soundtrack is decent, as is the cinematography. But overall, an average film for a fine writer-director. I'd reviewed this film earlier, but this is a reappraisal, with fresh compilations from my DVD.

Raul is a short-tempered albeit sincere cop who gets suspended for assaulting an important person's son. He decides to spend the enforced vacation at his dad's ranch, who's now married to Olga, his former girlfriend. He also reluctantly strikes a deal with an informer concerning a human trafficking cartel. At the ranch, he learns that his mentally challenged younger brother Valentín is working as an errand-boy at an upmarket brothel, and that he's also in love with to one of the prostitutes there. A furious Raul goes looking for Valentín to rescue him, but finds him happy as ever with his 'girlfriend' Milena, a Colombian prostitute owned by the brothel. He tries to break the pair apart, with little success. He then decides to have sex with her, hoping that would put him off. Tragedy strikes unexpectedly, and Raul ends up taking up his brother's place.




Compilation 1: Flora Martínez
Prostitute Milena is played by the pretty Colombian actress Flora Martínez - shame though she seems to have needlessly gone under the surgeon's scalpel.



Scene Guide:

• A high-on-cocaine Milena is tended to by lover and errand-boy Valentin.
• Raul had come to the brothel to end Valentín's relationship with Milena, but decides to 'check her out' for curiosity sake. Even after knowing who he is, she agrees. 'Inspecting' her vagina, he remarks, "never thought whores could get horny too".  She retorts, "with a stud like you, who wouldn't". A disgusted Raul throws money and leaves.
• When Valentín refuses to stop loving Milena, Raul barges into Milena's room when she's with a customer and warns her to stay away from his brother.

Compilation 2: Flora Martínez
The remaining scenes of Flora Martínez who plays Milena.



Scene Guide:

• Valentín seeks his turn with Milena after the last of her customers leave. It certainly doesn't appear as if she's ready for him yet - hygienically at least. She's however glad he reminded her she's not always a prostitute.
• Raul comes visiting again - this time he really wants to do it with Milena and ensure Valentín also knows - so that he could put him off. He see her dancing with a customer, and Nancy, who wants to try and keep Raul away from her, offers a trick, but he's not interested. Nancy is played by the gorgeous Cubana Yunet Guerra - pity she doesn't take her kit off in this film.
• A brief scene of cute Miriam Giovanelli - she barely has a line to speak in the film, but does offer a nipple-slip.
• Raul pulls Milena away from her customer, and after making a scene, offers his custom instead. He ravishes her after leaving the door unlocked - she pleads him not to break Valentín's heart, but he'd have none of it - pretty soon it is apparent she too is enjoying it. An unsuspecting Valentín enters, and leaves in shock.
• Valentín is killed due to mistaken identity - Raul feels guilty and uses his connections with the human trafficking cartel to 'release' Milena from her bondage. She's however not interested as she's earning enough to send decent money for her child back in Colombia. He then offers to take Valentín's place. She replies, "in which case, I want you to get my next fix".
• Raul has now become Milena's new Valentín.

Compilation 3: Daniela Cobo, Yunet Guerra, Carla Sánchez, Belén Fabra, and others
These are the other nude scenes not involving Flora Martínez.



Scene Guide:

• The film starts with Raul insisting on paying for the night with a prostitute - played by Daniela Cobo.
• Valentín bringing in drinks for a customer who's having a threesome.
• A watchful eye is kept on all the goings on in the establishment.
• Girls enjoying their bachata, as Raul look around. One of the girls points out that he resembles Valentín.
• María, Raul's police-colleague comes visiting to warn him of a plot against him. The carefree Raul shags her nevertheless. María is played by Carla Sánchez.
• A couple of brief scenes of Olga played by classy Belén Fabra - Olga was once Raul's girlfriend, but is now married to his dad - we're not told what happened - or whether this is the reason behind Raul's alcoholism. Valentín catches them in the act and feels it is not quite right.

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Paz Vega in "Carmen" [2003 Spain]

Vicente Aranda is known for his uninhibited treatment of raw emotions like sexual passion, jealousy and hatred. His 2003 adaptation of Prosper Mérimée's novella, "Carmen" showcases these magnificently. The script and his attention to minor details bring these fictional characters and the times that they lived in to life quite vividly.

While the great Carlos Saura treated his 1983 version of Carmen stylistically - juxtaposing characters in a modern day theater producing a Flamenco version of the same opera, Vicente Aranda interprets the original novel more closely, while adding his own embellishments like introducing Mérimée as a character within the film, bearing witness to unfolding events. The lush cinematography, impeccable art direction and costume design transport us to 1830's Seville where this story is set.

What lets it down however, may be the casting. While some of the actors fit the role to a point, the most important character of all - Carmen, doesn't. Which is a shame really - one of the reasons for this post is to focus on, and start the filmography of Paz Vega - possibly the prettiest actress ever to come out of Spain. The Carmen character is that of a ruthless vamp - I wasn't convinced Paz Vega was one - I think Laura del Sol made a better Carmen in Carlos Saura's version, as did Julia Migenes in Francesco Rosi's Italian version. Paz may have the native Andalucian features of Carmen - she hails from Seville herself - but that's as far as the comparison goes.

I had reviewed this film years ago, this is however a reappraisal with freshly cut scenes from DVD. In the coming days I will be updating scenes from my collection of films by Vicente Aranda and others here - much of the material may have already been reviewed by me elsewhere - but these will be rewritten, and the scenes will be newly cut from DVD's or BD's - focusing of course, on quality. I hope these will be among the best one can find today.



Scene 1:
This is a great scene well recreated by Sr. Aranda. A cigar factory in 19th century Spain could only be described as a 'sweat shop'. There's no airconditioning, tempers flay, and what do you get - sweaty factory girls getting all rowdy. Carmen, with the shortest of tempers, shouldn't be messed with. Unaware of this, one woman pokes fun at her for being too slow in picking up José - the young corporal who's ignored Carmen's overtures so far. She throws Carmen a cigar after rubbing it in her vagina, and asks her to give it to José on her behalf - so that he'd know what a real woman smells like. Carmen however has heard enough when she is taunted for her gypsy heritage - strangely, she wasn't offended as much even when she was addressed as a whore!






Scene 2:
José, now stripped of his rank and just released from a prison term for letting Carmen escape while in his custody, finally tracks her down at an officer's party. As a thank you gift, Carmen takes him to a brothel - one she occasionally rents herself when in need of some cash. Later, when José is about to leave to report back to duty, Carmen admonishes him for being a 'slave' to the army and persuades him to stay - until she decides otherwise. Keep an eye out for an unexpected glimpse of the lovely Paz (top right of my graphic) - I can see they tried to restrict its view during post production, but a few frames needed to remain.






Scene 3:
This is a combination of four different scenes. First is when Carmen roundly insults the hapless José while returning another favour he did her. The second is when José asks Carmen to be his alone - he is now a fugitive wanted for killing his liutenent at the brothel, for being Carmen's customer. The third part is Carmen having sex publicly with José in the smuggler's cave. It's only in the final part of the scene does José painfully realise that Carmen is already married to the smuggler chief - she still manages to snuggle into his bed after her husband falls asleep.






Scene 4:
Early in the scene, Carmen's husband draws her close while playing cards with his mates, rubs her vagina in broad view, and praising how her 'twat' always brings him luck. José is only too aware that Carmen would only bring his downfall, and that there is nothing he could do to stop destiny. When José learns that Carmen is now with Lucas, a famous bullfighter, he barges in, blasts the poor man, and drags Carmen to the church of the Holy Virgin. When Carmen steadfastly refuses to change her ways and become his wife, José knows he'd now reached the end of the road. This dramatic last scene is well shot.





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Esther Nubiola and others in "Tirante el Blanco" BR720 [Spain, UK 2006]

Veteran director Vicente Aranda gives us his take on events preceeding the fall of the Byzantine Empire in his lush 2006 adaptation from a book by the same name, "Tirante el Blanco" [Eng. Title: The White Knight]. I haven't read Joanot Martorell's original book, but knowing Sr. Aranda, I'm sure what seems at first sight to be a bawdy swashbuckler-romance with cheesy dialogues, is his way of satirizing the political intrigues and hypocrisy prevalent among the royals of the time, which eventually led to the fall of the Empire. But I am not too sure if he pulled it off successfully with the English dialogues - may be those in the dubbing department weren't fully aware of his intentions. There is also some tongue-in-cheek humour intended, but doesn't deliver.

Technically, apart from the battle scenes and effects, it is well done, especially the rich costumes, splendid lighting, excellent cinematography, and fine art direction - looks like they've collectively sought inspiration from the later works of Caravaggio. The Blu-ray version (from which these scenes were cut) certainly make these technical features show through in all its glory.

The story is set in the early 15th century when a knight from the Kingdom of Aragon (Spain didn't exist in its present form then) arrives with his army to defend Constantinople from the invading Moslems. He hopelessly falls in love with the princess Carmesina, played by the delicious Esther Nubiola. The film is filled with big stars - Italian great Giancarlo Giannini plays the ailing emperor, and Spanish heavyweight Victoria Abril plays the scheming Peaceful Widow, Leonor Watling, court maiden Placer de mi Vida, and Ingrid Rubio, maiden Estefania.





Scene 1: Of 'Silent Weddings' and ravished 'Maiden Heads'

I bet the title got your attention! Yes - this is about court maiden Estefania and princess Carmesina desperately trying to loose their virginity to the recently arrived foreigners - Tirante - the White Knight, and his close friend. One of them succeeds as the scene graphic below shows. There is only brief nudity in these scenes, but it's the situation and language that make these interesting to watch.






Scene set 2: The relentless 'flashings' of a conniving 'Peaceful Widow'

Viuda Reposada - Peaceful Widow goes to extraordinary lengths to prevent Tirante from marrying Carmesina, strutting her feminine charms at Tirante at every given opportunity. Having failed to keep the courtly love birds apart, she receives her comeuppance towards the end.







Scene set 3: Of 'Cougars' and Queen Bees

I've collated these scenes so it reads like a 'Decameronic' tale - I'm sure a Pasolini would have given it a more poetic touch, but this will do. The Empress, played by British actress Jane Asher, falls in love with a boy young enough to be her grandson - he is Tirante's Page. During the end scene, a suspicious Emperor barges into her 'smelly' chamber to see whether anything ontoward is going on.







Scene set 4: 'Whatever it takes' to 'Save the Empire'

These are a collection of scenes involving delicious (did I just repeat that!) Esther Nubiola and sultry Leonor Watling. Shame Ms. Watling doesn't get to present her physical assets in this film - that'll have to wait in this blog until I post scenes from a Bigas Luna flick from my DVD library. But she gives us several tatalising glimpses of her hidden charms throughout the film.








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