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FRIDA Send This Review to a Friend
One of my favorites seen at the Toronto International Film Festival 2002, "Frida" is a stunning film on many counts. It is an ambitious story with the sweep of a novel and the mark of expertise in concept and execution. The beautiful Salma Hayek, whose determination to see this project to fruition helped fuel the film's passion, gives a turbulent, moving performance as Mexican artist Frida Kahlo, with Alfred Molina also outstanding as the exuberant muralist Diego Rivera, with whom Kahlo shared so much of her life despite his penchant for infidelity. "Frida" is also an immense triumph for director Julie Taymor.
The screenplay by Clancy Sigel, Diane Lake, Gregory Nava and Anna Thomas, based on Hayden Herrera's book, sparkles with drama and history, including the political climate and events with which Frida and Rivera were involved. They were committed leftists, and Frida wound up having an affair with exiled Leon Trotsky (Geoffrey Rush) and the film deals ominously with his murder in Mexico.
There are numerous supporting performances of note, including Edward Norton's portrayal of Nelson Rockefeller, who ordered the removal of Rivera's Rockefeller Center mural because he inserted a painting of Soviet leader Lenin and refused to change his work. But the center of gravity for this outstanding film is the impassioned performance by Hayek, who merits award consideration.
Kahlo's life was a turbulent one filled with pain. Apart from her physical handicap as a result of having been ill with polio as a youngster, she suffered from a horrendous 1925 bus accident. Her life consisted of a series of operations, and the eventual loss of a leg. She was rigidly corseted and subjected to barbaric medical procedures and constant, excurciating pain. But she was also overflowing with spirit and determination, and although her career as an artist was submerged by that of Rivera, she left a legacy of her work that has gained in recognition through the years. Frida was also adventuresome in her relationships, including with women, and she would command the spotlight at parties and set people talking. Hayek embodies all of these aspects and then some. She also happens to be beautiful, far better looking than Kahlo.
Alfred Molina complements her as a life force in his role as Rivera. This is a super performance, one that contributes mightily to the overall power of the film. Together he and Hayek enhance the story with the fervor that the principals projected to attain the status they did and become involved in the sort of relationship they had. This is a film about art and artists and grand in scope.
"Frida" is also a gorgeous film, ripe with the colors one associates with Mexico, and director Julie Taymor has imbued it with insight and creativity. Taymor brings to the screen inventiveness similar to what she accomplished on stage with "The Lion King," her launching pad to renown. She uses animation and fantasy to express Frida's thoughts and feelings, and does so in just the right proportions so that she lifts the visual and intellectual quality of the film without overstepping. Elliot Goldenthal's score adds another dimension, and the CD soundtrack is a gem.
"Frida" is a huge, pulsating and entertaining achievement, certainly one the most impressive films of 2002 and deserving of plaudits. A Miramax release.
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