BELLE EPQOUE
A film review by Scott Renshaw
Copyright 1994 Scott Renshaw
Starring: Jorge Ganz, Fernando Fernan Gomez, Ariadna Gil, Maribel Verdu, Penelope Cruz, Miriam Diaz-Aroca. Screenplay: Rafael Azcona, from a story by Azcona, Jose Luis Garcia Sanchez & Fernando Trueba. Director: Fernando Trueba.
It was considered something of an upset when the Academy Award for Foreign Language Film went to Spain's BELLE EPOQUE, but in retrospect it really shouldn't have been. The category has recently favored safe, small entertainments over big political epics, as evidenced by the victory for MEDITERRANEO. BELLE EPOQUE bears more than a passing resemblance to that former winner; it's a sunny, sensual comedy with all the makings of a crossover success. Although it features no real story to speak of, and some clownish characters, its frisky tone and clever direction by Fernando Trueba make it a worthwhile experience.
BELLE EPOQUE takes place in 1931 Spain, where a republican revolution has challenged the monarchy and the Catholic Church. Fernando (Jorge Sanz), a member of the king's army with republican sentiments, has deserted into the Spanish country side. He meets Manolo (Fernando Fernan Gomez), a free-thinking artist and political simpatico who offers to take Fernando in for the night. However, Fernando's arrival coincides with a visit from Manolo's four daughters: serious widow Clara (Miriam Diaz-Aroca); mannish Violeta (Ariadna Gil); lusty Rocio (Maribel Verdu); and innocent Luz (Penelope Cruz). Fernando ends up staying just a bit longer than planned, switching affections between the sisters as fast as he changes beds, while the political drama plays out in the background.
Comedy is probably the hardest cinematic genre to translate from foreign language films, so it is high praise indeed to note that BELLE EPOQUE had the audience where I saw the film laughing hard and often. The subtitling is superb, losing only minor idioms in the translation. Those more familiar with Spanish history and culture might be quicker to figure out what a "Carlist" is, or the humor behind the parish priest's affinity for philosopher Miguel de Unamuno, but far more of the fun in BELLE EPOQUE transcends particulars of culture. There are delightful moments of physical comedy, most notably Violeta's gender-bending seduction of Fernando while both are in costume at a carnival. Another highlight is the arrival of Manolo's opera singer wife and her jealous manager, accompanied by a window serenade. The humor is almost entirely accessible, and it's very winning.
Much of BELLE EPOQUE's earthy charm comes from the slightly anachronistic "if-it-feels-good-do-it" attitude of many of the principal characters. This is not, as one might expect, some leering variation on the old traveling salesman/farmer's daughters story; Manolo's response to Fernando's revelation of his tryst with Violeta is delightfully unexpected. Director Trueba uses the backdrop of the republican revolution to highlight a shift away from the rigidly Catholic Spain to a more liberal era, a transition emphasized in wonderful scenes involving Rocio's uptight fiance Juanito and his domineering mother. Juanito is so deeply rooted in Catholicism that when he rebels against his mother, he goes to the local church believing there is some ceremony involved in renouncing the faith.
However, BELLE EPOQUE makes no pretense to being "about" anything, and it is in that respect that the film commits its few errors. There is really no plot, just a series of amusing encounters which don't serve to develop any of the characters. The characterizations are somewhat weak, particularly that of Fernando, whose seminarian background, professed agnosticism and unabashed romanticism are never successfully linked. Clara, Luz and Rocio are too sketchy, and Juanito is simply a buffoon. There are two strong performances, from Ariadna Gil as Violeta and Fernando Fernan Gomez as Manolo, and it is no coincidence that they are also the most fully developed characters. Still, BELLE EPOQUE does what Trueba intends for it to do, which is to entertain and amuse. It may not have been my choice for an Oscar, but there could have been far worse choices.
On the Renshaw scale of 0 to 10 republicans: 8.
-- Scott Renshaw Stanford University Office of the General Counsel
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