I rented "Frida" on DVD last night. I enjoyed this movie a lot. I didn't know much about Frida Kahlo's life before seeing this movie. This movie educated me. The movie obviously made the most of a small budget. I admired that. The animation sequences weren't slick, but they were imaginative, which, now that I think about it, fit in perfectly with the theme of Frida's art. (Gripe number one: The trip to New York sequence reminded me a little too much of the trip to New York sequence in "Butch Cassidy and The Sundance Kid." The trip to Paris sequence, however, with the spinning postcard rack, was a brilliant way get around the problem of not being able to afford location shots. Gripe number two: The bonus features were nothing special, and certainly didn't merit a second disc.)
I am beginning to understand why some people object to the term "magic realism." The argument, I've read, is that the term is used too often to catagorize Central and South American culture into a neat little stereotype. This was certainly the case with many reviews I've read of "Frida." Reviewers call this movie an excellent example of magic realism. Reviewers point to the gold flakes flying through the air during the trolley crash and call that "magic realism." But it was clearly explained how the gold got there. It was grounded firmly in reality. The fantasy sequences in the movie were clearly fantasy. That is not magic realism. A priest levitating by means of chocolate (in One Hundred Years Of Solitude) and presented as a real occurance - now that's magic realism.
I am beginning to understand why some people object to the term "magic realism." The argument, I've read, is that the term is used too often to catagorize Central and South American culture into a neat little stereotype. This was certainly the case with many reviews I've read of "Frida." Reviewers call this movie an excellent example of magic realism. Reviewers point to the gold flakes flying through the air during the trolley crash and call that "magic realism." But it was clearly explained how the gold got there. It was grounded firmly in reality. The fantasy sequences in the movie were clearly fantasy. That is not magic realism. A priest levitating by means of chocolate (in One Hundred Years Of Solitude) and presented as a real occurance - now that's magic realism.