Bullfighter Juan Gallardo falls for socialite Dona Sol, turning from the faithful Carmen who nevertheless stands by her man as he continues to face real danger in the bullring.Written by
Ed Stephan <firstname.lastname@example.org>
During shooting Rouben Mamoulian carried paint spray guns in order to be able to alter the colour of props at a moment's notice. He also painted shadows onto walls rather than changing the lighting. See more »
During the scene when Doña Sol des Muire sings to Juan Gallardo on his first visit to her home, she accompanies herself on the guitar, but while she strums the fingers of her other hand never move to change chords as she plays. See more »
Amigo, there is some things you can't stop, not even with a cape. Well, I'm quitting. This is my last season.
[rolls over and dies]
See more »
It was planned to add more bullfighting scenes for distribution to South American countries, where the sport of bullfighting was much more acceptable. No details are available. See more »
Uneducated peasant Juan Gallardo rises to fame and fortune in the bullfight arena. From here he falls for the socially active Dona Sol; thus breaking the heart of his childhood sweetheart Carmen. Nevertheless she stands by her man as he continues to face danger in the bullring, but ego and love will give Juan his biggest fight of all.
This remake of the 1922 silent Rudolph Valentino picture is certainly a lavish production, the colour cinematography by Ernest Palmer & Ray Rennahan rightly won the Academy Award, and it's directed with adroit skill by Roublen Mamoulian. The story is a great one as well, following the rise of Gallardo (a solid if too staid Tyrone Power) is always intriguing, and it's watching his constant battle with his emotions that is the film's drawing card. However, there can be a case made for the film resting too much on its dialogue driven laurels, for far too many times I personally found myself hankering for an up turn in pace to help emphasise the emotional nature of the characters.
The cast do OK without really excelling, Rita Hayworth looks gorgeous and a fine career blossomed from here on in, while Linda Darnell as the other love interest glides nicely from scene to scene. Anthony Quinn takes the best supporting honours, where his Manolo is vigorous with a cheeky glint in the eye, whilst sadly John Carradine is underused and his Nacional is not fully fleshed out until its far too late.
It's at times sexy (damn flamenco always a winner to me), it's got guts, and it looks absolutely gorgeous, but it's not quite the whole classy package it could have been. 7/10
10 of 14 people found this review helpful.
Was this review helpful to you?
| Report this