¡Ay, Carmela! (1990) Online

This dramatic film with comical elements deals about lives of a group of artists and comics that travel around the country in hard times the Spanish Civil War (1936-1939). Carmela (Carmen Maura), his husband Paulino (Andres Pajares) and their mute helper Gustavete (Gabino Diego) are street performers who entertain the Republican troops after the battle in Aragon , 1938 . The trio of troubadours touring scenarios decides to seek a less dangerous destination . However, the Republican trio by mistake go to the national zone and immediately are arrested by a captain (Jose Sancho) . Suspecting that all of them collaborate with the Republican rebels opposite to the Francoist Regime they are imprisoned by a Lieutenant (Miguel Rellan) and they fear a firing squad , but receive a reprieve from an Italian Fascist commander who loves the theatre . As an Italian Lieutenant named Ripamonte (Maurizio De Razza) arranges a performance for his troops , playing burlesque , bargaining with Paulino to stage a burlesque show in exchange for the actors' freedom.

This is an interesting story about human beings , three sympathetic troubadours touring the countryside during the Spanish Civil War and how they cope with this unsettling nightmare ; including their pain , poverty but also some mirth and joy . Drama with historical and hilarious elements ; including enjoyable performances and adequate set design by Rafael Palmero. ¨¡Ay Carmela¡¨ results to be other of the innumerable stories to deal with dramatic deeds regarding the Civil War background . A familiar theme about the global horrors of a fratricide war , impossible to forget to our cinema . An agreeable as well as dramatical story plenty of enjoyable moments , moving feelings , wonderful songs , attractive musical score by Alejandro Masso and tragic finale . Above all , the acting is first rate , as Carmen Maura gives a terrific acting as the fiery and patriotic Carmela, along with Andres Pajares who won several national as international prizes . The story describes the penury and sadness of a nation at recent war which itself is expressed through the tortuous mental , emotional processes and final nervous breakdown Carmen Maura goes through . Director Carlos Saura , also writes the interesting script along with prestigious screenwriter Rafael Azcona , Luis Garcia Berlanga's usual writer . Carlos Saura conveys us the escalating tension before the show in important measure of difficult along with an ironic humor backstage . Filmed in his usual formal and stylistic scholarship , but plenty of marvelously ancient songs , musical numbers and without leaving a trace the thought-provoking issues , in terms of dramatic and narrative excitement . The flick can be defined as a realistic tragedy-drama , a romantic history , a historic/comical fresco and a socio-political fable . This theme about a troupe constantly being dragged back to the reality of war and in an extreme situation continues through the picture . The flick bears remarkable resemblance to subsequently directed by Emilio Aragon titled "Paper Birds" by Emilio Aragon with Imanol Arias , Luis Homar , but the latter failed as box office with indifferent reception by public as critical . Good support cast with prestigious Spanish secondaries as Luis Rellan , Jose Sancho , Maurizio De Razza , and Chema Mazo , among others . Including a spotless pictorial cinematography by Jose Luis Alcaine and a willingness , almost perfect of the elements of each shot , every sequence, every space .

The motion picture was stunningly written and directed by Carlos Saura He is one of the best Spanish movies director . He began working in cinema in 1959 when he filmed ¨Los Golfos ¨(1962) dealing with juvenile delinquency from a sociological point of view . He subsequently made LLanto por Un Bandido (1964) starred by an European all-star-cast . Saura is a well recognized filmmaker both nationally and internationally, and in proof of it he won many prizes among which there are the following ones: Silver Bear in Festival of Berlin for Peppermint Frappé (1967) and the successful La Caza (1966) that also won numerous prizes in International Festivals and in which four characters facing each other and terminating into a jarring burst of violence . Saura achieved Special Jury Awards in Cannes for La Prima Angélica (1974), in 1973, and for Cría Cuervos (1976), in 1975. Also, the film Mamá Cumple Cien Años (1979) got an Oscar nomination in 1979 as the best foreign film, and it also won the Special Jury Award at the San Sebastian Festival. He subsequently made ¨Deprisa , Deprisa¨ based on facts about juvenile delinquency in Spain since the 80s , as he tried to take a position in favour of outcast people and he got to make a both lyric and documentary-style cinema . In 1990, he won two Goya , The Spanish Oscar , as best adapted screenplay writer and best director . Saura became an expert on Iberian musical adaptations as ¨Carmen , Amor Brujo , Bodas De Sangre , Sevillanas , Iberia , Salome , Fado, Flamenco ¨ and even recently Opera as ¨Io , Don Giovanni

(spoilers) One of the things that I really like about this film is that its message can be delivered whether you know the situation in Spain at the time or not. The nationalists win violently at the end of the film, and you know the meaning of this without even having to know many historical details about the oppression of the Franco regime at the time that the movie takes place, which is important in making this movie internationally comprehensible. Carmela is a maternal figure both for her husband Paulino as well as for the young mute boy that they have taken into their care. They are entertainers seeking to escape the violence of the war, which is coming closer and closer to their home, but ultimately end up trying to entertain the Nationalist army and thereby win their freedom.

There is a great scene at the beginning of the movie where Carmela and Paulino and Gustavete are performing for the rugged, less organized Republican army (sort of the roughnecks who have to defend themselves against the offenses of the Nationalists). This is a delightful performance that hugely entertains the audience, but it stops in its tracks as the sound of planes is heard overhead, and everyone in the room goes completely silent, waiting to hear the sound of bombs dropping. In this early scene, we see exactly what is going on in the film without having to have it delivered flatly through dialogue.

We see the winners AND the losers in this film. The movie opens up with the performance for the Republicans, where everyone is having a good time including the performers, but by the end of the film, Carmela and Paulino and Gustavete have been captured and are nervously performing for the stolid Nationalist army, all the while terrified that they may say something wrong and offend the diminutive Franco in the front row (who reminds me of Lord Farquaad from Shrek) and be thrown back into prison or killed.

The difference between the two armies is striking. The Republicans are clearly less organized, less trained, have less equipment, weapons, training, financial backing, etc, and most importantly, are very clearly there to defend themselves rather than wage war against the Nationalists. These are the peaceful people who are forced into a war situation by a regime that is about to attack them. The Nationalists, however, are a much more organized and well trained and funded group. They are, in fact, so organized, that the suits in the audience at the end of the film are literally color coded.

The majority of the symbolism in the film is centered around Paulino, Carmela, and Gustavete. Carmela represents Spain, obviously, and her death at the end of the film represents the expiration of freedom and possibly the death of Spain itself. She tries to save everyone, worrying about the suffering of all people and therefore putting herself in danger in an effort to help them, while Paulino is much more realistic, concerned mostly with their own problems and saving themselves. He is not portrayed as selfish or as a coward, but as a realist. He knows that trying to fight against the Nationalists is simply not realistic and is a stupid way to get himself killed. Carmela died at the end of the film because she stood up against people that she had absolutely no power over.

When Carmela is shot, Gustavete finally managed to get some sound out of his throat, representing a hope for the future. Carmela was killed, but Gustavete represents a new youth, and he has been given a voice by the display of violence put on by the Nationalist army, embodied in the one man who pulled the trigger. There is, however the fact that the Nationalists erupt into total confusion when things get rough at the end of the film, as well as the stunned look on the soldier's face when he realizes that he has killed Carmela, which shows that the movie is not about bad people, but about a bad ideology. The Nationalists are not portrayed as evil people, just people who made bad choices and got involved with a bad cause that did not turn out to be what they thought it was.

This movie reminds me in a way of Life Is Beautiful (as does José Luis Cuerda's Butterfly), except that both the tragedy as well as the comedy are each reduced in each film. This is not a film about the power of stupid people in large groups, but rather the effect that a large idea can have on impressionable people. It warns against the dangers of being weak willed and simply going with the flow, the extremes that this kind of conformity can lead to. Clearly, this is a worst case scenario, but the film had a message that crosses time, culture, and international boundaries.

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.

A simple story, beautifully enacted. A trio of enthusiastic, if not over-talented performers tries to make a living in the midst of the Spanish Civil War, which is increasingly being won by Franco's Nationalists. After a rousing success entertaining a group of Loyalist fighters, the weary actors take a wrong turn on a foggy road and end up in Nationalist controlled territory, where they do their best to convince the Italian and Spanish officers that they are simply performers without politics.

Impresario Paulino, husband of star Carmela, befriends an Italian officer with theatrical ambitions, and the actors are told to put on a show for the Nationalist troops. Carmela hates the idea, but loves her husband and the mute young man they have adopted, Gustavete, so she agrees to give it her best effort. Things don't work out quite as planned, however. Some background on the Spanish Civil War would help many viewers get more out of the movie, though explanatory titles are provided. Visually, the film is crammed with authentic details, such as home-made armored cars used by the Republican militias, recruiting posters, Anarchist and Republican flags, Moorish troops aiding the Spanish Nationalists, and even Generalisimo Franco himself attending the performance. The actors who play the trio of performers are admirably cast, especially Carmen Maura as Carmela. Her energy and zest during passionate, romantic songs and dances are wonderful to see. Her deep compassion for others is frequently on display, as in the maternal attitude she takes toward the unofficial son she and Paulino have taken under their wing, and her grief over the certain fate of the Polish prisoners from the International Brigades. Her humor and strong will in the face of terrifyingly unpredictable situations help keep the other two going. Andres Pajares plays the quick-witted Paulino, a former seminarian who has taken up musical comedy instead of the priesthood. His ability to size up a situation and get on the good side of dangerous people helps the little troupe to survive , but at some cost to his dignity. Paulino is a survivor who will do what it takes to get through a war, and his main survival technique is the attitude of being a performer, whether you like any particular audience or not. Ay, Carmela is a very engaging film that is at times quite amusing, but ultimately heart-breaking. This film deserves to be released on a Region 1 DVD that could be made available for a wider audience to appreciate its moving and memorable story.

This is a film about human beings and how they cope with the nightmare of civil war. We are shown that people's reactions to this kind of ordeal are various. It is an extreme situation and this is conveyed very well by Carlos Saura - we watch people trying to forget where they are and enjoy themselves watching the antics of our variety troupe, only to be reminded of reality, as the sound of aircraft drowns out the performance. This theme of constantly being dragged back to the reality of war continues through the film. The acting is outstanding, Carmen Maura's in particular, and regardless of with whom our personal empathy may lie, Saura does not condemn individuals. Above all, the pain and sadness of a country at war with itself is expressed through the tortuous mental and emotional processes Carmela goes through.

This film brought tears to my eyes on more than one occasion. It says much about the value of human life,and the bewildering horror and absurdity of civil war.

OK, first of all, whoever said that "The Pianist" was a precursor to this movie must not have noticed that "Ay Carmela" was released 8 or so years before it. Also, you probably need to come into this one understanding some of the complicated precepts involved in the Spanish Civil War and how it was more complicated than just one enemy, and that the Republican army was not unified either. This film does a decent job of communicating that complexity and speaking to the ambivalence that the Spanish nation felt (and still feels) about this terrible period in their history. Lastly, as the protagonists are artists, it is important to remember that under Franco many of Spain's leading artistic figures were forced into exile and or shot (as in the case of Garcia Lorca). Expecting to get a history lesson from a movie seems like the wrong motivation altogether for me, I mean these are characters placed into a historical context. So therefore if you know absolutely nothing about this period it may be smart to learn a little first and then appreciate the film through the lens of that knowledge.

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.

This acclaimed latter-day Saura effort touches on, or rather weaves together, a number of his lifelong concerns – the performing arts are here placed within the context of the Spanish Civil War. In that respect, it inevitably elicits memories of Ernst Lubitsch's WWII masterpiece TO BE OR NOT TO BE (1942) – but that film's blackly comic tones (deemed tasteless at the time) are here largely supplanted by genuinely less salubrious elements, notably grotesquerie and (unsurprisingly) eroticism!

Incidentally, while the script (co-written by Saura and Rafael Azcona in what would prove to be their sixth and final collaboration) does clearly take the side of the "Loyalists" (epitomized by the recurring title song) against the winning "Nationalist" forces in the ongoing conflict, it wisely opts to stress a general anti-war feeling – since, by then, the alternative Communist doctrine was seen to have also reaped an oppressive system (the Berlin Wall had just been torn down when the film was made)! That said, it paints a clichéd picture of Italians (who naturally supported the soon-to-be-established Fascist dictatorship) as lovers of pasta and Neapolitan songs!

The protagonists comprise a small-time variety act, but which is seen to go a long way on the woman's sensuality (she too is named Carmela and sings one of her numbers draped in the Republican flag!), her partner's penchant for rhythmic flatulence(!) and the sheer innocence of its third member, a mute boy (who, at one point, attempts to sell to the Italians the troupe's allegiance to their cause by inscribing "Viva Mulosini" {sic} on a tablet he carries around with him and, in another comic sequence, dutifully informs his boss that the delicious meat he is gorging himself on may well be that of a cat as opposed to rabbit!).

I think "Ay, Carmela" has a lot to offer in the way of understanding better the history of Spain and more specifically the Spanish Civil War. True, the characters are a bit underdeveloped, but not so much that one doesn't "care what happens:" The tension of the situation in Spain is clearly felt in the theater as Paulino and Carmela perform, and although we don't really get to know any of the characters very deeply, you can't help but feel the power of the tragedy as Carmela lies on the stage dying amidst the chaos. Furthermore, there is a lot of symbolism that a viewer would not get without having some knowledge of the Civil War and Franco's dictatorship, such as Carmela being buried -*outside*- of the cemetery in the middle of nowhere.

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.

During the Spanish Civil War a spirited vaudeville team on a morale boosting tour of the republican front lines is captured by fascist troops and made an offer they can't refuse: face imprisonment and possible execution or perform a degrading propaganda skit for the amusement of local officers. The stakes are clear: collaborate and live, or refuse and die, and from that simple dilemma director Carlos Saura conveys the escalating tension before the show with a healthy measure of wartime drama and ironic backstage humor. Saura understands that genuine tragedy requires at least a touch of comedy, provided here by an energetic cast led by the reliable Carmen Maura, who even does her own singing and dancing. So it's too bad that after building such momentum the film has to end on a lurid climax better suited to an Oliver Stone potboiler, complete with strobe light effects and mass audience hysteria. But it's a small price to pay for an otherwise elegant and entertaining reminder of how, even in a war where the issues are obvious, some decisions can be mortally dangerous to make.

it is a form of parable. piece of long exorcism of Spain against its past shadows. a film like a puzzle of references. art resistance, moral choices, adventure, burlesque, compromises and truth, love and life and dream. all under the precise art of Carlos Saura tools. part of a chain, it is different. not only for extraordinary performance of Carmen Maura but for courage to not be only a Spanish story. the three flags, the prisoners, the school, theater, maybe the map are clues for define a deep European crisis and confrontation with the past. and that is the essence of this splendid movie - to open doors, to transform a past story in present reflection, to be a testimony and, in same measure, an invitation to discover the best choice in dark periods.

maybe, its basic virtue is the realistic portrait of Spanish Civil War. bitter, ironic, cruel and precise. and not surprising. because it is a film about freedom against totalitarian regime. a film about the way to escape from the cage of history. a film about force of art. and about sacrifice. and about the choice who defines yourself. I saw twice this special film. and each time as discovered it as a kind of gem. for the truths reflected with force. for the music. for the performances. and, sure, for the strange form of hope. so, the war. and the fight to survive.

Carlos Saura is one of the most famous directors in Spain and has won countless awards. Ay, Carmela! was his 23rd film and was nominated for 13 Goya Awards when it came out in 1990. The movie is set during the Spanish Civil War. The main characters are Carmela and Paulino, a couple, and their sidekick, Gustavete, who is a mute. These three are a team of performers who put on shows for the Republican forces. During these shows, Carmela sings the song "Ay, Carmela" which was an important symbol during the times of the Civil War for the Republican forces. Carmela performs original songs as well, and each one is accompanied by a dance number, which usually play up her womanly figure and inherent sexuality.

As the trio moves on towards Valencia, they get caught in a Nationalist territory and are easy targets for arrest due to their Republican flag, which is a prop from their performances. As they begin to be transported, to what they think is going to be their death, they meet an Italian lieutenant who just happens to be a fan of the theatrical arts. Due to his interest in their performances, he asks that they perform for his Nationalist troops. Paulino must quickly rewrite their scripts and songs to make it suit the other side. Polish troops that have been held captive are forced to watch the mockery of their ideals. Carmela, a dedicated Republican, is very reluctant to perform for the enemy, and struggles with the transition. In the end, she ends up shot dead by one of the Nationalist troops for her obvious love of the Republican movement. Her death causes Gustavete to get his voice back, as he screams in anguish of her death.

This movie was crucial to the time that it was made because it was far enough after the Civil War that Carlos Saura, and his viewers, were finally able to find humor in the Civil War. The War brought with it many deaths, destruction, and a division of the country. The war ended with the victory of the Nationalists, which resulted in the rule of Francisco Franco for the next 36 years. Ay, Carmela was the first movie mentioning the Civil War that portrayed it in a comedic sense. The world of film was blessed when Carlos Saura decided that he could finally treat the War with humor. My only problem with the film is the way in which Carmela was portrayed. I feel that she was displayed solely as an object of sexual desire, when realistically she was extremely patriotic and was passionate about her admiration for the Republic. I think that Saura touched on this side of her, but I found that the ratio of sexuality to intellect was a little skewed for my taste.

I really enjoyed watching this movie, as I found it applicable to what I know about the Spanish Civil War. I appreciate Saura's ability as a director to find humor in something that was so painful for his country, and that he was able to share it with the nation, allowing them to finally find the comedic relief that was hidden within the war. After watching this movie, I would only recommend it to those that are familiar with the contexts of Spain in the 1930s. Those of Spanish heritage, or those who have learned about it in a college course, are bound to enjoy it, due its comedic representation of something that had such a negative impact on the country of Spain. The lighthearted, upbeat, and musical tones that this film takes are truly a work of art. Though, due to the types of jokes in this film, all of which deal with the history of the Spanish Civil War, I do not think that anyone unfamiliar with the War would find much humor in it.

I was only able to watch this beautiful movie recently, since the English subtitles appeared on the Internet. Pity it took someone so long to translate it. The film deals with the eternal dilemma of artists, torn apart between the urge to survive and to upheld some moral standards, in civil wars or during the enemy occupation. Under the skillful direction of Carlos Saura, all the actors performed superbly. The music is authentic and contemporary and sounds very convincing. After too many wars, the artist that entertained the enemy were often judged overly harshly. Not everybody is made to be a hero, and hunger is a very potent stimulant. The film is absolutely a must, but not for Fascist lovers, of course.

**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.

Ay! Carmela is another one of a seemingly endless amount of films about the Entertainer From The Home Country Who is Forced To Perform For The Enemy. I mean, how many do we have now? (Mephisto, The Pianist, Life Is Beautiful, The Acoomapanist, etc etc etc). In this case, we have a traveling troupe of 3 performers, a spitfire dancer, a tenor, and of course, a mute instrumentalist. They make a living performing for the government rebels of the Spanish civil war. One night, they are captured, and, in a decision between life and death, agree to a show for the government troops and some 'special guests', some Polish prisoners that probably will die the day after. Needless to say, Carmela, the dancer in the troupe, wonders if this is all too much, and needs to make some personal decisions.

This is a pretty good story, the historical aspect of it is interesting, thereby making it a pleasant sit through. It's not excellent though, the reason for that is the somewhat lack of originality of the concept (at least the Pianist had some heart to get away with it!!) and the somewhat lack of character development, thereby making us care less of what happens.

Still, it's not a bad movie. Just don't go in thinking you'll really learn anything though.