'Frida' is a rich and passionate account of two celebrated Mexican artists, whose lives were bound up with major events of the 20th century-the Mexican and Russian Revolutions... The film takes us at the center of the art world in one of the most tumultuous alliance between two painters, an alliance filled with joy and heartbreak, love and betrayal...
Frida and Diego are two dynamic artists of extraordinary and diverse talents... While Diego's work is more public and monumental, Frida's paintings are grotesque and intimate on a much smaller scale...
The film chronicles Frida's audacious self-introduction to the great muralist Diego Rivera, and her physical ailments... There is pain in this woman's life, a pain she don't deserve to have, a pain no one deserves to have... There's a line in the film where Kahlo says, 'at the end of the day, we can all endure much more than we think we can.' and I think this one line resumes everything about her...
Salma Hayek proves herself that she's more than just another pretty face... Salma is full of vigor as the angry strong-willed female artist caught in a net of pain... It's pleasing to see Hayek in a production where she is totally confidant, sexy and lusty in an uncomplicated way... Salma captures the spirit of Frida and plays it with heart and style, longing for the healing touch... She dances a provocative tango with Ashley Judd, and goes to Paris to explore her bisexual side...
The chemistry between Salma and Molina is terrific... Her passion for art is overtaken by her passion for him... She expresses her emotions by teasing him, by playing practical jokes, by exciting the jealousy of his wonderful wife, Lupe Marin (Valeria Golino).
But Frida remains in Rivera's shadow... She calls herself "a charming amateur." She focuses on her expressive self portraits of her physical pain, anger, and disappointment... Yet while viewers are left with the impression that there is undoubtedly more to Frida's life than what appears on screen, what we get instead is a love story, a tale of Frida's romantic, and tempestuous union to the unfaithful husband she marries twice and never stopped to love...
London-born actor Alfred Molina is absolutely splendid as the lovable Rivera... He is a well-known womanizer who can never be faithful to any woman... Diego is a painter of conviction... A revolutionary painter who believes in Frida's anguished brush, and championed her work... He decides to create paintings which would speak directly to the common people...
In a motion picture that sweeps from the late 1920s into the 1950s, Julie Taymor proves to be a director of taste and sensitivity... She captures the mood of the moment with genuine flair and style... Her imagery is exciting, and we are convinced that we are seeing Mexico in the first half of the 1900s, with its native markets, textiles, music, and food... Julie Taymor infuses it with elements of Frida's artistic creativity, bringing much of her work to life... Her film was nominated for six Academy Awards...
Vague references to the political struggle between Trotsky and Stalin make their way into the script... The film ignores Siqueiros' central role in the unsuccessful attempt on Trotsky's life in 1940... But the motion picture details the mistake of Nelson Rockefeller commissioning Rivera a huge fresco for his public hall...
Frida and Diego are two dynamic artists of extraordinary and diverse talents... While Diego's work is more public and monumental, Frida's paintings are grotesque and intimate on a much smaller scale...
The film chronicles Frida's audacious self-introduction to the great muralist Diego Rivera, and her physical ailments... There is pain in this woman's life, a pain she don't deserve to have, a pain no one deserves to have... There's a line in the film where Kahlo says, 'at the end of the day, we can all endure much more than we think we can.' and I think this one line resumes everything about her...
Salma Hayek proves herself that she's more than just another pretty face... Salma is full of vigor as the angry strong-willed female artist caught in a net of pain... It's pleasing to see Hayek in a production where she is totally confidant, sexy and lusty in an uncomplicated way... Salma captures the spirit of Frida and plays it with heart and style, longing for the healing touch... She dances a provocative tango with Ashley Judd, and goes to Paris to explore her bisexual side...
The chemistry between Salma and Molina is terrific... Her passion for art is overtaken by her passion for him... She expresses her emotions by teasing him, by playing practical jokes, by exciting the jealousy of his wonderful wife, Lupe Marin (Valeria Golino).
But Frida remains in Rivera's shadow... She calls herself "a charming amateur." She focuses on her expressive self portraits of her physical pain, anger, and disappointment... Yet while viewers are left with the impression that there is undoubtedly more to Frida's life than what appears on screen, what we get instead is a love story, a tale of Frida's romantic, and tempestuous union to the unfaithful husband she marries twice and never stopped to love...
London-born actor Alfred Molina is absolutely splendid as the lovable Rivera... He is a well-known womanizer who can never be faithful to any woman... Diego is a painter of conviction... A revolutionary painter who believes in Frida's anguished brush, and championed her work... He decides to create paintings which would speak directly to the common people...
In a motion picture that sweeps from the late 1920s into the 1950s, Julie Taymor proves to be a director of taste and sensitivity... She captures the mood of the moment with genuine flair and style... Her imagery is exciting, and we are convinced that we are seeing Mexico in the first half of the 1900s, with its native markets, textiles, music, and food... Julie Taymor infuses it with elements of Frida's artistic creativity, bringing much of her work to life... Her film was nominated for six Academy Awards...
Vague references to the political struggle between Trotsky and Stalin make their way into the script... The film ignores Siqueiros' central role in the unsuccessful attempt on Trotsky's life in 1940... But the motion picture details the mistake of Nelson Rockefeller commissioning Rivera a huge fresco for his public hall...