My guess is that Frida Kahlo would have loathed “Immersive Frida Kahlo,” the kind of touring exhibit that professes to honor the canvas while bathing it in digital-tech kitsch. And, having seen Carla Gutiérrez’s riveting documentary Frida, I’m certain the artist would have announced her disdain with a laugh and a healthy dose of juicy invective. If you want to immerse yourself in Frida Kahlo, here is the real thing.
Taking the helm for the first time, editor Gutiérrez (Rbg, Julia) pushes past the dime-a-dozen “icon” label to face the artist on her own terms, drawing upon Kahlo’s illustrated diaries and letters. The film’s archival riches also include an extraordinary selection of photographs and footage, and the transcripts of interviews with people close to Kahlo by biographer Hayden Herrera, whose 1983 book was the basis of the Julie Taymor biopic starring Salma Hayek.
Whatever that 2002 movie’s strengths and weaknesses,...
Taking the helm for the first time, editor Gutiérrez (Rbg, Julia) pushes past the dime-a-dozen “icon” label to face the artist on her own terms, drawing upon Kahlo’s illustrated diaries and letters. The film’s archival riches also include an extraordinary selection of photographs and footage, and the transcripts of interviews with people close to Kahlo by biographer Hayden Herrera, whose 1983 book was the basis of the Julie Taymor biopic starring Salma Hayek.
Whatever that 2002 movie’s strengths and weaknesses,...
- 1/19/2024
- by Sheri Linden
- The Hollywood Reporter - Movie News
Exclusive: Cic Media is teaming up with the Frida Kahlo Corporation and Venezuelan composer and singer Carlos Baute to create drama series following the life of the iconic artist that has influenced, inspired and had a significant impact on the Latinx diaspora, the art world, feminism and culture as a whole. The writing team of Joel Novoa and Marilu Godinez are set to create the series. Novoa, who has worked on Arrow, Blood and Treasure and the feature film God’s Slave is attached to direct. The partnership will create a slate of content to celebrate the life of Frida Kahlo in different genres.
Novoa and Godinez said that they are developing a “high concept series” that will blend the new wave of international content with their experience in the American studio system.
“The idea is to talk about what the books don’t,” said the writing duo in a joint statement.
Novoa and Godinez said that they are developing a “high concept series” that will blend the new wave of international content with their experience in the American studio system.
“The idea is to talk about what the books don’t,” said the writing duo in a joint statement.
- 1/19/2021
- by Dino-Ray Ramos
- Deadline Film + TV
Chicago – Jane Campion and Julie Taymor are two of the most fascinating directors in modern cinema. They are unafraid to take major gambles, and their audacity has occasionally caused their projects to derail. But on a good day, they are capable of achieving artistic transcendence on a grand scale, as evidenced in Campion’s 1993 masterwork, “The Piano,” and Taymor’s 2002 gem, “Frida.”
Both pictures are bold in their depiction of sexuality and adamant in their refusal to portray their central female characters as victims. Though these women are damaged physically and emotionally by tragic occurrences, their lives are triumphant studies in survival against the odds. What’s particularly interesting is the way in which both women are drawn into unlikely romances with men whose less-than-photogenic features are overshadowed by their magnetism and fierce appreciation for beauty.
Blu-ray Rating: 4.0/5.0
The love story that blooms between a mute pianist, Ada (Holly Hunter...
Both pictures are bold in their depiction of sexuality and adamant in their refusal to portray their central female characters as victims. Though these women are damaged physically and emotionally by tragic occurrences, their lives are triumphant studies in survival against the odds. What’s particularly interesting is the way in which both women are drawn into unlikely romances with men whose less-than-photogenic features are overshadowed by their magnetism and fierce appreciation for beauty.
Blu-ray Rating: 4.0/5.0
The love story that blooms between a mute pianist, Ada (Holly Hunter...
- 2/1/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Blu-ray Release Date: Jan. 31, 2012
Price: Blu-ray $19.99
Studio: Lionsgate
Making its high-definition Blu-ray debut, 2002 biography movie Frida is a labor of love for Salma Hayek (Grown-Ups), who produced the film and starred as the acclaimed artist Frida Kahlo.
The drama film looks at the life of Frida Kahlo from her humble beginnings through to the success of her artistic vision, in which she channeled her pain. We see her relationship with her mentor and husband Diego (Alfred Molina, An Education), a crippling injury and her scandalous affairs.
Directed by Julie Taymor (The Tempest), the R-rated movie won two Academy Awards for makeup and Elliot Goldenthal’s original score. Frida also was nominated for Oscars for Best Actress for Hayek, art direction, costumes and the song “Burn It Blue.”
Also starring Antonio Banderas (You Will Meet a Tall Dark Stranger), Ashley Judd (Dolphin Tale) and Edward Norton (Red Dragon), Frida is based...
Price: Blu-ray $19.99
Studio: Lionsgate
Making its high-definition Blu-ray debut, 2002 biography movie Frida is a labor of love for Salma Hayek (Grown-Ups), who produced the film and starred as the acclaimed artist Frida Kahlo.
The drama film looks at the life of Frida Kahlo from her humble beginnings through to the success of her artistic vision, in which she channeled her pain. We see her relationship with her mentor and husband Diego (Alfred Molina, An Education), a crippling injury and her scandalous affairs.
Directed by Julie Taymor (The Tempest), the R-rated movie won two Academy Awards for makeup and Elliot Goldenthal’s original score. Frida also was nominated for Oscars for Best Actress for Hayek, art direction, costumes and the song “Burn It Blue.”
Also starring Antonio Banderas (You Will Meet a Tall Dark Stranger), Ashley Judd (Dolphin Tale) and Edward Norton (Red Dragon), Frida is based...
- 11/16/2011
- by Sam
- Disc Dish
The lives of great artists are notorious for their resistance to the biopic treatment. The iconic Mexican painter Frida Kahlo proves no exception.
While this film dutifully chronicles her suffering, obsessions and battles with her own body, it stands in pale contrast to Kahlo's real biography, which is her amazing paintings.
In development for nearly a decade, battling rival projects and studio skittishness, "Frida" emerges as a fairly convention biopic rather than the artistic statement one might anticipate given director Julie Taymor's theatrical background and actress-producer Salma Hayek's passion for the role.
The film hues closely to the facts of Kahlo's life and her tempestuous relationship with world-famous muralist Diego Rivera, her mentor and husband. Taymor puts Frida's vivid and often disturbing art to sagacious use, slipping the famous images into scenes to reflect or comment on dramatic developments. But the film somehow misses the mark, having made rather tidy a messy and brutally painful life.
As more than 100 published books concern Kahlo and Rivera, one should never underestimate the public appetite for this story. With a stellar cast -- Alfred Molina as Rivera, Geoffrey Rush as Leon Trotsky, Edward Norton as Nelson Rockefeller, Antonio Banderas as muralist David Siqueiros and Ashley Judd as photographer Tina Modotti -- along with a careful rollout and Miramax's marketing muscle, "Frida" does have potential as an art house hit. The outlook overseas and in ancillary markets is even more positive.
The movie begins on the day of Frida's one and only exhibit in Mexico, in the spring of 1953. Her health has deteriorated so greatly, the doctor forbids her to leave her bed. So she has her bed carted to the gallery. On the ride over, the movie goes into a flashback. Frida, a high-school tomboy, loves to get into mischief with a gang of boys. She sneaks into a school auditorium where the great Rivera is painting.
The movie quickly moves to the trauma that shapes her life: A trolley accident in 1925 leaves her impaled on a metal rod. So devastated is her body that it's a miracle she even lives, much less that she walks again. Lying in bed for months, bored and in pain, she takes up painting. Her parents (Roger Rees and Patricia Reyes Spindola) give her a special easel and canopied bed with a mirror above her so she can be her own model. A life of self-portraiture, of painting the inner and outer Frida Kahlo, thus begins.
The story of her event-filled life understandably moves swiftly. Yet the consequence is that the movie gives short shrift to Frida's recovery and the enormous will power she developed to tolerate pain and fatigue. Clearly, the drinking, smoking and drug use that come later help her to dull that pain.
The bond between Diego and Frida is handled with empathy. Molina captures Diego's bearish personality, his huge body, his embrace of sensual pleasures and his fierce commitment to leftist political principles. In one of the film's welcome flights of surreal fancy, Rivera is fittingly depicted, in cutout images, as King Kong atop the Empire State Building, batting at airplanes as he would his critics. Molina gets the essential goodness of the man, his firm belief in loyalty and a set of principles that sometimes gets overshadowed by his many adulterous affairs, the worst being with Frida's own sister (Mia Maestro).
Hayek learned how to paint and how to effect the outer Frida -- including her wearing of traditional Mexican clothing. Other than Frida's trademark thick, connecting eyebrows, though, she has not allowed the makeup artist to de-glamorize her. More problematic is the fact Hayek doesn't inhabit her character as Molina does his. She is playing a role while Molina is Diego.
The film neither makes too much nor too little of its protagonists' wild side -- their open marriage, where they even shared lovers, or Frida's bisexuality and her affair with Trotsky, which may have cost him his life. The only sugar-coating comes near the end: It's quite possible Frida took her own life but the film never hints of this.
Rodrigo Preito's colorful and appealing cinematography, designer Felipe Fernandez's period re-creations and Elliot Goldenthal's guitar-flavored music, picking up Mexican themes, make a tight budget go a long way.
FRIDA
Miramax Films
Miramax presents in association with Margaret Rose Perenchio
A Ventanarosa Production in association with Lions Gate Films
Credits:
Director: Julie Taymor
Writers: Clancy Sigel, Diane Lake, Gregory Nava, Anna Thomas
Based on the book by: Hayden Herrera
Producers: Sarah Green, Salma Hayek, Jay Polstein, Nancy Hardin, Lindsay Flickinger, Roberto Sneiders
Executive producer: Mark Amin, Brian Gibson, Mark Gill, Jill Sobel Messick, Amy Slotnick
Director of photography: Rodrigo Prieto
Production designer: Felipe Fernandez
Music: Elliot Goldenthal
Costume designer: Julie Weiss
Editor: Francoise Bonnot
Cast:
Frida Kahlo: Salma Hayek
Diego Rivera: Alfred Molina
Leon Trotsky: Geoffrey Rush
Nelson Rockefeller: Edward Norton
David Siqueiros: Antonio Banderas
Cristina Kahlo: Mia Maestro
Tina Modotti: Ashley Judd
Guillermo Kahlo: Roger Rees
Lupe Marin: Valeria Golino
Matilde Kahlo: Patricia Reyes Spindola
Alejandro: Diego Luna
Running time -- 119 minutes
MPAA rating: R...
While this film dutifully chronicles her suffering, obsessions and battles with her own body, it stands in pale contrast to Kahlo's real biography, which is her amazing paintings.
In development for nearly a decade, battling rival projects and studio skittishness, "Frida" emerges as a fairly convention biopic rather than the artistic statement one might anticipate given director Julie Taymor's theatrical background and actress-producer Salma Hayek's passion for the role.
The film hues closely to the facts of Kahlo's life and her tempestuous relationship with world-famous muralist Diego Rivera, her mentor and husband. Taymor puts Frida's vivid and often disturbing art to sagacious use, slipping the famous images into scenes to reflect or comment on dramatic developments. But the film somehow misses the mark, having made rather tidy a messy and brutally painful life.
As more than 100 published books concern Kahlo and Rivera, one should never underestimate the public appetite for this story. With a stellar cast -- Alfred Molina as Rivera, Geoffrey Rush as Leon Trotsky, Edward Norton as Nelson Rockefeller, Antonio Banderas as muralist David Siqueiros and Ashley Judd as photographer Tina Modotti -- along with a careful rollout and Miramax's marketing muscle, "Frida" does have potential as an art house hit. The outlook overseas and in ancillary markets is even more positive.
The movie begins on the day of Frida's one and only exhibit in Mexico, in the spring of 1953. Her health has deteriorated so greatly, the doctor forbids her to leave her bed. So she has her bed carted to the gallery. On the ride over, the movie goes into a flashback. Frida, a high-school tomboy, loves to get into mischief with a gang of boys. She sneaks into a school auditorium where the great Rivera is painting.
The movie quickly moves to the trauma that shapes her life: A trolley accident in 1925 leaves her impaled on a metal rod. So devastated is her body that it's a miracle she even lives, much less that she walks again. Lying in bed for months, bored and in pain, she takes up painting. Her parents (Roger Rees and Patricia Reyes Spindola) give her a special easel and canopied bed with a mirror above her so she can be her own model. A life of self-portraiture, of painting the inner and outer Frida Kahlo, thus begins.
The story of her event-filled life understandably moves swiftly. Yet the consequence is that the movie gives short shrift to Frida's recovery and the enormous will power she developed to tolerate pain and fatigue. Clearly, the drinking, smoking and drug use that come later help her to dull that pain.
The bond between Diego and Frida is handled with empathy. Molina captures Diego's bearish personality, his huge body, his embrace of sensual pleasures and his fierce commitment to leftist political principles. In one of the film's welcome flights of surreal fancy, Rivera is fittingly depicted, in cutout images, as King Kong atop the Empire State Building, batting at airplanes as he would his critics. Molina gets the essential goodness of the man, his firm belief in loyalty and a set of principles that sometimes gets overshadowed by his many adulterous affairs, the worst being with Frida's own sister (Mia Maestro).
Hayek learned how to paint and how to effect the outer Frida -- including her wearing of traditional Mexican clothing. Other than Frida's trademark thick, connecting eyebrows, though, she has not allowed the makeup artist to de-glamorize her. More problematic is the fact Hayek doesn't inhabit her character as Molina does his. She is playing a role while Molina is Diego.
The film neither makes too much nor too little of its protagonists' wild side -- their open marriage, where they even shared lovers, or Frida's bisexuality and her affair with Trotsky, which may have cost him his life. The only sugar-coating comes near the end: It's quite possible Frida took her own life but the film never hints of this.
Rodrigo Preito's colorful and appealing cinematography, designer Felipe Fernandez's period re-creations and Elliot Goldenthal's guitar-flavored music, picking up Mexican themes, make a tight budget go a long way.
FRIDA
Miramax Films
Miramax presents in association with Margaret Rose Perenchio
A Ventanarosa Production in association with Lions Gate Films
Credits:
Director: Julie Taymor
Writers: Clancy Sigel, Diane Lake, Gregory Nava, Anna Thomas
Based on the book by: Hayden Herrera
Producers: Sarah Green, Salma Hayek, Jay Polstein, Nancy Hardin, Lindsay Flickinger, Roberto Sneiders
Executive producer: Mark Amin, Brian Gibson, Mark Gill, Jill Sobel Messick, Amy Slotnick
Director of photography: Rodrigo Prieto
Production designer: Felipe Fernandez
Music: Elliot Goldenthal
Costume designer: Julie Weiss
Editor: Francoise Bonnot
Cast:
Frida Kahlo: Salma Hayek
Diego Rivera: Alfred Molina
Leon Trotsky: Geoffrey Rush
Nelson Rockefeller: Edward Norton
David Siqueiros: Antonio Banderas
Cristina Kahlo: Mia Maestro
Tina Modotti: Ashley Judd
Guillermo Kahlo: Roger Rees
Lupe Marin: Valeria Golino
Matilde Kahlo: Patricia Reyes Spindola
Alejandro: Diego Luna
Running time -- 119 minutes
MPAA rating: R...
- 8/30/2002
- The Hollywood Reporter - Movie News
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