Another viewing of this film recently simply left me where I was before: there is something about Bigas Luna which escapes me, or just simply irritates me. Whereas any viewing of Aitana Sánchez-Gijón evidently has its pluses, inasfar as anything else related to the story being told, I think I would rather make do with the pages of Didier Decoin.
Having already waded through the insufferable `Las Edades de Lulú' (qv), `La Teta y La Luna' (definitely no qv), the trivial and frivolous `Bámbola' (qv), and the overstated and over-coloured `Volavérunt' (qv), I think I can only be glad that, thus far, I have missed out on `Jamón, Jamón' or `Los Huevos de Oro', among others, without being unfortunate enough to have missed out on anything. But the irritating thing is that Bigas Luna is a genius. Maybe not in the sense of getting the best acting interpretations he doesn't but certainly in all other techniques involved in making a film, especially in scene-setting for yesteryear and even longer ago. This is evidently apparent in `La Femme de Chambre du Titanic' and `Volavérunt', in which the Italian Franca Squarciapino is clearly one of the best specialists in the matter: the period costumes are superb in both films. I see on IMDb that she had plenty of schooling back in the 1980s with operatic productions.
So I patiently sit here awaiting the next Bigas Luna more or less anticipating what it will be, because I am definitely in no rush for it, and will not even be sorry if it goes by without my catching on. But if it does turn up, you can be sure I shall be watching: there is something fascinating about a man whose films do not exactly end up being very appetising fare but which show such remarkable cinematographic talent.
Having already waded through the insufferable `Las Edades de Lulú' (qv), `La Teta y La Luna' (definitely no qv), the trivial and frivolous `Bámbola' (qv), and the overstated and over-coloured `Volavérunt' (qv), I think I can only be glad that, thus far, I have missed out on `Jamón, Jamón' or `Los Huevos de Oro', among others, without being unfortunate enough to have missed out on anything. But the irritating thing is that Bigas Luna is a genius. Maybe not in the sense of getting the best acting interpretations he doesn't but certainly in all other techniques involved in making a film, especially in scene-setting for yesteryear and even longer ago. This is evidently apparent in `La Femme de Chambre du Titanic' and `Volavérunt', in which the Italian Franca Squarciapino is clearly one of the best specialists in the matter: the period costumes are superb in both films. I see on IMDb that she had plenty of schooling back in the 1980s with operatic productions.
So I patiently sit here awaiting the next Bigas Luna more or less anticipating what it will be, because I am definitely in no rush for it, and will not even be sorry if it goes by without my catching on. But if it does turn up, you can be sure I shall be watching: there is something fascinating about a man whose films do not exactly end up being very appetising fare but which show such remarkable cinematographic talent.