Waste of Money.

Boring, over-political, tech fuzed mess

I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

Yes, absolutely, there is fun to be had, as well as many, many things to go boom, all amid an atmospheric urban jungle.

Spain, 1938: The Republicans (the good guys) are at Civil War with the Nationalist Fascists (the bad guys), led by General Francisco Franco (the baddest). Entertaining the good-guy troops is a rag-tag theatrical troupe consisting of Carmela (Carmen Maura), her lover Paulino (Andres Pajares) and their gofer, the mute Gustavete (Gabino Diego). Carmela & Co. aren't all that intellectual or idealistic, but their narcissistic hearts are basically in a politically correct place and they seem to enjoy giving the Republican guys a few laughs and the odd tear; no one appears to notice, or to mind, that they aren't really all that good.Directed by Carlos Saura, best known for the caliente flamenco films Carmen and Blood Wedding, Ay, Carmela! has rather too much in common with Carmela's company. It's technically rag-tag and droopy, neither analytical enough to be challenging nor sensual enough to be exciting. Conceived as a cross between Bye Bye Brazil and Mother Courage, it ends up a politicized Goodbye, Dolly!. That's a movie that the dazzlingly talented, irreverent pixie Pedro Almodovar (Women on the Verge of a Ner vous Breakdown) might have been able to bring off, but not the relatively flat-footed Saura.The star of Ay, Carmela!, Carmen Maura, became famous through her work with Almodovar, of course, and she's fitfully amusing here, doing her Carmen Miranda"Susan Hayward routine, but Rafael Azcona's see-through script merely serves to expose her flaws as a dramatic actress (she's great at extremes, not so hot at normal behaviour).The rest of the cast falls victim to that same flimsy script, which wafts toward a teary climax as easy to forecast as rain in Vancouver. For indigenous audiences - the picture has been a big hit in Spain - the movie is no doubt important and moving, presenting as it does the reality of a war hidden for many years by Franco's repression. But for the rest of us, it's merely an attempt to translate a history we already know into a kind of entertainment we've seen too many times. Ay, Carmela, and adios. Conrad Alton, Filmbay Editor.

Saura's superb display of a well-chosen fit between music and the story that is going on "behind the curtains". He is a master on that. Kind of idealistic view of the Spanish Civil War, as a result of the political moment of "institutional silent" when democracy is possible in Spain again. (90')He took the amazing and just genial play by Sinisterra and make it a new piece of art. Makes you laugh and cry..although the vision of Carmela as the representation of "la republic" inserts women in a stereotyped context of the "abstraction" that does not let her be part of the struggle for democracy, hand by hand with human kind..men in this case.. highly recommended, but also should be followed by the reading of the theater play.

**Parts of Plot Revealed*The beginning of this film had some motion to it but when it couldn't decide if it was a comedy or an attack on Franco, it lost the steam and everyone became confused. It didn't even work because it was dull and monotonous also. The plot concerns a comedy acting troupe who was hired by the Republican officer corps to entertain enlisted troops. We see Carmela, who is a robust and an attractive older woman who can dance the flamenco. Her husband, a weak, tired former opera singer who is so dull he can't even make love to her and their companion, a young mute who is always reprimanded. We follow them as they attempt to go to Valencia and away from the war. When they are captured by Nationalist troops, everything goes insane, they are locked up in a detainee camp and they witness communists and other prisoners of the "evil" nationalists get executed. Problem here is, the Republicans, and more so the communists executed just as many prisoners but obviously this is supposed to be an "anti-Franco" film and it attempts to criticize the regime in a satirical way that doesn't really look like satire, just boring confusion. The husband is a character that is highly annoying and overbearing, he whines and slobbers all over the place because he is being dehumanized by so-called 'barbarians'. Carmen is just a cheap floozey who flounces her breasts, her breasts were shown once and every man in the film either touched or wanted to grope them. Silly. The troupe is made to perform in front of the Nationalists and it is one of the most boring endurances ever. Carmela shouts out against tryanny in a scene that looks like an exaggerated "Julius Cesear" and she signals the death of the Republic. How are we, the intelligent audience, supposed to believe that such a bunch of selfish, pestering middle class nit wits were out for Democracy in the first place? Thing is, we can't and that is the problem with this film, we don't have reason to believe anything it tells us.

I only wanted to say that it was not until the second time that I watched it that I began to really appreciate the complexity of the story, is web of ironies, and the extent of the moral dilemmas with which the different characters really had to confront and deal with...and how in the end, it was really the lack of the husband's moral backbone that nearly bankrupted Carmela's (i.e, Spain's) morality and dignity...a dignity that was redeemed in the very end of the movie, but only through Carmela's very own blood - a very clear Christ-figure reference; one consistent with western literature, and also very consistent with much of the film's Communist/Republican/Atheist vs. Franco-Fascist/Vatican-Backed/Fervent Catholic sub plot.Carmen Maura was brilliant in the complex role of Carmela, as were the two male supporting actors in their respective roles. I only wish that the subtitles would have done the rich Spanish dialogue more justice. So many nuances had to be left out, but those I suppose are the limitations inherent in subtitles, no matter how competently they may be done.