Carlos Saura, from Huesca in the north of Aragón, would seem to be bent on emulating Luis Buñuel, who was from Teruel in the south of Aragón. If we add that Francisco de Goya was also Aragonese and the singer Miguel Fleta also hailed from the Pyrenean province of Huesca, it should be clear that this region has produced some artistically important people, not forgetting historical personages like Catherine of Aragón who had her head lopped off in the court of Henry VIII.
The Buñuel-Saura tandem has produced some magnificent cinema, and it is Buñuel's surrealism which Saura frequently echoes, albeit using more modern techniques and technology. Whereas his films `Goya en Burdeos' (1999) and `Pajarico' (1997) (qv) have evidently more tangible story-lines to follow, `Sevillanas' (1992) (qv), `Marathon' (1992) and `Flamenco' (1995) are more documental, but not lacking in cinematographic effects by such geniuses as Vittorio Storaro and Javier Aguirresarobe. However, in Tango the matter becomes more complicated, as, supposedly, anyway, there is, or so we are to understand, a story-line to follow. The story is not clear: perhaps it was Saura's intention that each one of us should make up our own story! Better forget the story, whatever it might be, and concentrate on the visual aspects, as they are stunning. Firstly it is a kind of investigation into the art and philosophy of the afamed Argentinian Tango; secondly it an interesting musical appreciation, as most certainly Lalo Schifrin has done his homework, and the music that is not his and there is quite a lot has been wisely chosen, including even an extract from Verdi; thirdly the camerawork is of the finest to be seen. Storaro has played with luminosity, playing orange against yellow, magenta against purple, as well as using reflections in mirrors and glass panelling to tremendous effect.
In `Tango' Saura once again used music, as in `Sevillanas', `Flamenco' and to a certain degree in `Marathon' as the vehicle for transporting his visual concepts. The result in `Tango' as well as in `Marathon', is quite extraordinary, captivating, and, whether you are a great enthusiast of sevillanas, flamenco or tango or not I am not you cannot help but being satisfied by the result, though perhaps not so much in `Sevillanas' as it is a rather overhurried cursory glimpse at a subject matter which should have deserved more time.
The Buñuel-Saura tandem has produced some magnificent cinema, and it is Buñuel's surrealism which Saura frequently echoes, albeit using more modern techniques and technology. Whereas his films `Goya en Burdeos' (1999) and `Pajarico' (1997) (qv) have evidently more tangible story-lines to follow, `Sevillanas' (1992) (qv), `Marathon' (1992) and `Flamenco' (1995) are more documental, but not lacking in cinematographic effects by such geniuses as Vittorio Storaro and Javier Aguirresarobe. However, in Tango the matter becomes more complicated, as, supposedly, anyway, there is, or so we are to understand, a story-line to follow. The story is not clear: perhaps it was Saura's intention that each one of us should make up our own story! Better forget the story, whatever it might be, and concentrate on the visual aspects, as they are stunning. Firstly it is a kind of investigation into the art and philosophy of the afamed Argentinian Tango; secondly it an interesting musical appreciation, as most certainly Lalo Schifrin has done his homework, and the music that is not his and there is quite a lot has been wisely chosen, including even an extract from Verdi; thirdly the camerawork is of the finest to be seen. Storaro has played with luminosity, playing orange against yellow, magenta against purple, as well as using reflections in mirrors and glass panelling to tremendous effect.
In `Tango' Saura once again used music, as in `Sevillanas', `Flamenco' and to a certain degree in `Marathon' as the vehicle for transporting his visual concepts. The result in `Tango' as well as in `Marathon', is quite extraordinary, captivating, and, whether you are a great enthusiast of sevillanas, flamenco or tango or not I am not you cannot help but being satisfied by the result, though perhaps not so much in `Sevillanas' as it is a rather overhurried cursory glimpse at a subject matter which should have deserved more time.