Her father was the best toreador alive. His name was Antonio Villalta (Daniel Giménez Cacho) and he loved a woman who just might qualify as the hottest actress to give birth in a movie. Ever. Seriously Inma Cuesta is a fox. Don’t get too attached though. She dies. Spoilers. Is it a spoiler if it’s in the prologue?
The child survives, but the wealthy and recently paralyzed (emotionally and physically) Antonio is a widower. In swoops the evil step mother. Naturally. Fairy tales never have positive step mother characters. She will make life a living hell for the cuckolded Antonio and his precocious daughter. What is the child’s name you query? ‘Tis the film’s protagonist and namesake, Blancanieves (2012).
That means Snow White in the Spanish.
Blancanieves, directed by Pablo Berger, is a Spanish re-imagining of the classic Brothers Grimm fairytale, Snow White. In addition to it being Spanish it is also a silent melodrama. And no, they’re not just cashing in on the success of The Artist (2011). In fact, crafty filmmakers have been making silent pictures all along. From the rebellious Charlie Chaplin (Modern Times) to the innovative Pierre Étaix (Yoyo) to the surreal Guy Maddin (Archangel), great filmmakers have been using the unique language and aesthetic of silent cinema to convey wonderful stories all throughout the sound era.
Also most of the characters for this adaptation are bullfighters. Now far be it from me to perpetuate the stereotype that all Spaniards are matadors. I’m just reporting the facts of the film.
I hate to use the cliche of, “if you think you know the story [of Snow White]…think again.” But it totally applies here. This is not Disney. (Although the bullfights are somewhat sanitized and cleansed of blood). This is a tasty tragedy of the freshest variety. Blancanieves, or Carmen as she is called (played by Macarena García as an adult and sadly not as hot as Inma Cuesta), runs away from her evil stepmother (played with delicious malevolence by Maribel Verdú from Pan’s Labyrinth). . . but not until about halfway through the movie. There’s a lot of build up and backstory here.
A band of independent circus dwarfs—who are also matadors. I know!—discover Carmen but she has amnesia and remembers nothing. She joins their happy troupe and becomes a great matador herself. Because it’s in the blood. You may think you know the rest of the story, but there’s enough surprise and intrigue to keep you guessing.
This movie boasts ravishing cinematography and rich imagery of epic bullfights and ornate upper-crust Spanish living spaces cleverly juxtaposed with ramshackle nomadic circus environs. And the erotic flamenco pulse of speedy guitar strings wound with sex-fire coupled with a pair of manic castanets gives Blancanieves added atmosphere you can almost sink your teeth into. I want to bite this movie is what I’m saying.
I really enjoyed Blancanieves. This is exactly what we should be doing with classic stories. Like Ray Tintori’s Death to the Tinman or The Coen Bros. O, Brother Where Art Thou! While the final moments of this film I found to be beautiful and touching they did leave me wanting a bit emotionally. But with the kooky premise, splendid acting, creative turns, and gorgeous style I can forgive it. I love magic, matadors, midgets, and silent movies so this was pretty good for me.
Go see Blancanieves. It’s a special treat. And now I shall return to scouring the internet for more pictures of Inma Cuesta.