Carlos Saura is sort of like the Busby Berkeley of flamenco and other traditional Iberian musical forms, except he stages musical numbers with Spartan elegance. There will be no talking whatsoever, just singing, dancing, and playing in his latest intimate musical performance film.
Saura follows up his 1995 art house hit “Flamenco” with the aptly titled “Flamenco, Flamenco.”
Saura will not even cheapen his visually gorgeous film with a lot of intertitles identifying the many accomplished musicians making up his all-star flamenco ensembles. In a way, that is unfortunate for them, because their performances would make converts out of any non-fan who just happened to wander into “Flamenco”-squared.
Indeed, the “Flamenco” choreography framed by Saura and revered cinematographer Vittorio Storaro is particularly cinematic, emphasizing the dancers’ long vertical lines and their whirling garments.
There is no question Saura is one of the best filmmakers in the world when it comes to capturing dance on film. He also has an intuitive sense of how to best use the inherent tension of flamenco percussion.
Although flamenco costuming is traditionally rather modest, several of the younger singers and dancers convey quite a bit of passion through their performances. However, when María Bala steps forward for her solo, the audience is transported to the Andalusian caves.
In terms of quality, “Flamenco, Flamenco” is remarkably consistent, but there are still notable standouts. Surprisingly, one of the best is a two piano duet for Dorantes and Diego Amador. They both have spectacular technique, but what really distinguishes “Cartagenera y Bulerías” is just the sheer contagious fun they are having playing together.
