Blancanieves / Snow White (2012) [Re-UP]

While “Blancanieves,” the new silent film from Spain’s Pablo Berger, may on paper seem like a “me, too” project after “The Artist” won the Best Picture Oscar in 2012, all comparisons fall aside a minute after the first image hits the screen. This movie isn’t about the silent film industry, actors, and love; it’s about family, tradition, and love (so, they have love in common, and both use some melodrama, but in European silent film these are traditionally as essential as the camera).

Though the title “Blancanieves” translates to “Snow White,” it’s only loosely based on the Brothers Grimm tale. It’s tempting to say it’s about Spain, but the country isn’t a topic. It’s a character itself. This film is not about Spain, but of it.

This is also a film of sheer beauty on many levels. Daniel Giménez Cacho plays the consummate Spanish matador, Antonio Villalta. He, like almost everyone in this picture, features a slightly rough-hewn face, as if history had toughened his exterior. In costume, it’s impossible to believe that these Spaniards are not from the 1920’s. The exceptions would be perhaps the lovely, mesmerizing young woman, Carmen (Macarena García in the title role), and the darling Carmencita (Sofía Oria), who plays the child version of García’s character. Oria is a heart stealer in this role and, in a silent picture, where so much of the acting is in the eyes, Berger could not have chosen better.

Other actors who contribute largely to this spot-on cast include Maribel Verdú as the evil “Encarna” (yes, just three letters away from “evil incarnate”) and Ángela Molina as Doña Concha. Encarna, the stepmother, dutifully carries around the poison apple, but can she help it if she’s mostly a sexy Spanish woman with a bad temper? Concha is like a second mother to Carmencita. She vehemently states her opinions in Carmencita’s favor (Berger shows her mouth moving rapidly, but sometimes no dialogue card follows to explain what she said). The director’s restraint here is perfect—no explanation is needed. The body language is enough. Encarna and Concha are the good and evil feminine forces in the little girl’s life up until the splendor of the carnival atmosphere in the second act shakes everything up.

In “Blancanieves,” much of the resplendence comes from Berger’s confident use of close-ups. On the big screen appear exquisite, glimmering shots of buttons on the matador’s regalia, lockets with old photos inside, faces of villagers, tiny bells, giant bells, and so on.

Pablo Berger’s talents in photo composition and his work with cinematographer Kiko de la Rica exposing film to different levels of light result in, by turns, images you just want to grab off the screen and share with friends and dream-like scenes of a far-off land that leave you a bit off balance. In both cases, they’re cinematic artworks to be treasured.

The captivating, richly delicious music in “Blancanieves” adds yet another level of beauty. Alfonso de Vilallonga’s score keeps the momentum going while maintaining integrity and musicality. It rises to the challenge attendant in a silent film and then some. Original flamenco songs composed by Juan Gómez “Chicuelo” and performed by him and the wonderful singer Sílvia Pérez Cruz round out the spectrum of aural delights. Pérez Cruz lends the singing voice to character Carmen de Triana (played by Inma Cuesta), a flamenco singer and dancer who is Antonio Villalta’s wife and Carmencita’s mother.

Rich in humor (one of the bulls Antonio faces is named Lucifer), feminine and feminist beauty, photographic and musical objects d’art, and fine storytelling, “Blancanieves” stands out, ultimately, as an adoration of Spain. The nation’s traditional costumes, music, and dance permeate the film. However, like the great Pedro Almodóvar, Berger doesn’t hesitate to laugh at his homeland nor himself. When the credits roll, it’s as if a silent cry can be heard: “Viva Villalta! The most beautiful matador who has ever lived!”

Hudak on Hollywood

Special Features (in Spanish w/o any subs):
- Trailer
- Making of

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