If you've ever wanted to see a film that stresses style over substance, this is for you. To me, Son de Mar is beautiful to SEE, but there's precious little substance, unless mawkish, melodramatic, manipulative love yarns turn you on. This may be one of those famous 'chick flicks' you've heard so much about.
We're about half-way through this film before anything really happens: Ulises (Jordi Molla) goes out to sea looking for tuna, and doesn't come back, leaving his wife Martina (Leonor Watling) and son to fend for themselves. Then, in a furious six minutes of screen time, they bury Ulises, Martina gets married again, and her son grows into mid-childhood. This rapid transposition is jarring, to say the least, and very sloppy: after 40 minutes of more or less hanging around, we're suddenly into a full-blown melodrama, all in six minutes. I think this is called wayward narrative pacing.
Five years later, Ulises (as in the wandering superhero Ulysses; get it?), returns to his 'Penelope' (Watling) only to find she's married to Sierra (Eduard Fernandez), an inexplicably wealthy guy (what does he DO to earn all that dough?) who inexplicably keeps crocodiles as pets. When Martina, in great anger, questions Ulises about his absence, he tells her that he'll take her to the island of Sumatra someday and she'll understand EVERYTHING.
And here's the thing: he DOESN'T take her to the island of Sumatra. The reference just dies somewhere in the script. He DOESN'T really explain where he was and why he ignored his wife and child for five years. He DOESN'T acquit himself as an honourable guy, and the movie DOESN'T fill in the plot holes that are staring at us for at least half of the film. I can only assume that director Bigas Luna wants us to fill in the story lines with the mystical clues (fish, reptiles, the sea) he offers through breathtaking cinematography and evasive dialogue. It just doesn't work. The narrative 'arc' on this film ends up looking more like a wobbly clothesline.
I'm sure Jordi Molla is a good actor, but I just couldn't buy his Ulises as any kind of hero (which is what the original Ulysses was supposed to be). With moist sensuality, he spouts a short stanza of identical poetry from Virgil roughly 2,000 times and each and every time it excites Martina to explosive orgasm. This guy should be rented out to reinvigorate stale marriages. I'm sure Virgil would be impressed. He didn't get laid that often, as I understand it.
This poetic 'device' figures prominently in the film, and I had no choice but to assume it was a gender reversal of Ulysses' famous 'siren song' (i.e. beautiful maidens singing seductively to far-off sailors, who were doomed if they answered the, well, siren call). If this is what Bigas Luna is up to, you can see the problem -- he's offering convoluted symbolism in a snatch-and-grab attempt at High Art. Once again, it just doesn't work, at least in my eyes.
Watling is a beautiful and magnetic young actor, but she gives us a character here who doesn't seem to have much intellectual or even romantic depth. It's beyond me how she could desperately fall in love with a guy who sports a for-rent sign on his face (as in vacant), oily 1960s-style hair that looks more like seaweed, and one of those trendy 21st-century 'beards' (you know, four days' growth, no more, no less). He's SUPPOSED to be a dreamy kind of guy (I think), but those eyes of his suggest he might be suffering more from overexposure to a preposterous script.
But, don't despair, this film is great to look at. Just don't try to connect the dots on the red herrings or think too much about what you're hearing in the way of dialogue. You can do a lost of fast-forwarding on this film (particularly in the first 40 minutes) and you really won't miss much.
We're about half-way through this film before anything really happens: Ulises (Jordi Molla) goes out to sea looking for tuna, and doesn't come back, leaving his wife Martina (Leonor Watling) and son to fend for themselves. Then, in a furious six minutes of screen time, they bury Ulises, Martina gets married again, and her son grows into mid-childhood. This rapid transposition is jarring, to say the least, and very sloppy: after 40 minutes of more or less hanging around, we're suddenly into a full-blown melodrama, all in six minutes. I think this is called wayward narrative pacing.
Five years later, Ulises (as in the wandering superhero Ulysses; get it?), returns to his 'Penelope' (Watling) only to find she's married to Sierra (Eduard Fernandez), an inexplicably wealthy guy (what does he DO to earn all that dough?) who inexplicably keeps crocodiles as pets. When Martina, in great anger, questions Ulises about his absence, he tells her that he'll take her to the island of Sumatra someday and she'll understand EVERYTHING.
And here's the thing: he DOESN'T take her to the island of Sumatra. The reference just dies somewhere in the script. He DOESN'T really explain where he was and why he ignored his wife and child for five years. He DOESN'T acquit himself as an honourable guy, and the movie DOESN'T fill in the plot holes that are staring at us for at least half of the film. I can only assume that director Bigas Luna wants us to fill in the story lines with the mystical clues (fish, reptiles, the sea) he offers through breathtaking cinematography and evasive dialogue. It just doesn't work. The narrative 'arc' on this film ends up looking more like a wobbly clothesline.
I'm sure Jordi Molla is a good actor, but I just couldn't buy his Ulises as any kind of hero (which is what the original Ulysses was supposed to be). With moist sensuality, he spouts a short stanza of identical poetry from Virgil roughly 2,000 times and each and every time it excites Martina to explosive orgasm. This guy should be rented out to reinvigorate stale marriages. I'm sure Virgil would be impressed. He didn't get laid that often, as I understand it.
This poetic 'device' figures prominently in the film, and I had no choice but to assume it was a gender reversal of Ulysses' famous 'siren song' (i.e. beautiful maidens singing seductively to far-off sailors, who were doomed if they answered the, well, siren call). If this is what Bigas Luna is up to, you can see the problem -- he's offering convoluted symbolism in a snatch-and-grab attempt at High Art. Once again, it just doesn't work, at least in my eyes.
Watling is a beautiful and magnetic young actor, but she gives us a character here who doesn't seem to have much intellectual or even romantic depth. It's beyond me how she could desperately fall in love with a guy who sports a for-rent sign on his face (as in vacant), oily 1960s-style hair that looks more like seaweed, and one of those trendy 21st-century 'beards' (you know, four days' growth, no more, no less). He's SUPPOSED to be a dreamy kind of guy (I think), but those eyes of his suggest he might be suffering more from overexposure to a preposterous script.
But, don't despair, this film is great to look at. Just don't try to connect the dots on the red herrings or think too much about what you're hearing in the way of dialogue. You can do a lost of fast-forwarding on this film (particularly in the first 40 minutes) and you really won't miss much.