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529:(1980). Here, she played the suggestive role of a wealthy woman with unusual sexual fantasies. Aranda recalled: 'I was very pleased with Ornella; she did as much as she could to adjust to the requirements of the film, but she is extremely beautiful, and perhaps, another less attractive actress might have better suited the dark tone of the film.'
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at him. Disfigured in the explosion and his personality transformed by misfortune, Juan Marés falls deeper into indigence and schizophrenic hallucinations. Obsessed with the happiness he has lost and with the memory of his wife, he encounters Norma while he is performing on the streets, but she fails
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Aranda explained: 'I think I did not exaggerate enough. I should have used a cruder brush. Above all, I am not defending my own mistakes. I would have been more satisfied with the film if I had employed an uglier and more extreme style. It was a mistake to center the plot of the film in dialectic
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culture with xenophobia, anti-immigrant sentiment, and a rescue of self-identity that excludes others. The film portrays Norma ("Norma" also means "(linguistic) norm", "standard" in
Catalan and Spanish), representing the intellectual force of Catalan government policies of linguistic change, as
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The film does not escape the overblown qualities, thin characterization and inherent simplistic sexual politics of Marsé's novel. However, it skilfully points out the layered construction of a second identity, that of Juan Faneca, whose black cloak, wide-brimmed hat, scars and
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as a turning point in his career, a triumph after two years of relative inactivity. There are similarities between his own life and that of his character: he had a first failed marriage with a rich woman, and was an immigrant from modest background. He recalls that the role in
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His hallucinations increasing, a new identity takes shape in his mind: the emphatically non-Catalan Juan Faneca (the author's birth name). Faneca has a strong regional accent, a pencil mustache, dark complexion, sharp sideburns and eye patch. In this role he is a xarnego from
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to recognize him. In disguise, Marés talks to her again during the carnival in
Barcelona; only at the end of their talk does he impart a clue to his identity. Another day he telephones her, pretending to need help in the translation of words from Spanish into Catalan.
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during the 1950s, dreaming of leaving his poverty behind. In
December 1970, he meets his future wife at a photographic exhibit, when he involves himself with a group organizing a four-day hunger strike to protest the verdict of the 1969
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stand for a grotesque masculine self-image of sexual predominance based on outmoded forms of seduction. What starts as an unbelievable adventure gradually develops into an ironic criticism of the dual social and linguistic policies of
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was liked neither by the public nor by the novelist, nor even by the actors who made it; I did not like it either. I also think that Aranda was not very happy with the film; nevertheless, we went on to make another movie together.”
417:, and I liked it. Andres Vicente Gómez, the producer, was not very eager to take on this project; he considered it too regional, very Catalan. In spite of it all, we made the film.' Gomez says that he and Marsé thought that
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linguistic policies, exacerbated by social and class differences. The film is a painful reflection on the human desire to be someone else. The film is clearly marked by its geographical context: the normalization of the
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to start her new life in
Barcelona. Their one-night stand leaves both Juan and Norma disappointed. By then the invented character of Juan Faneca has overtaken Marés, and he continues his life with Griselda.
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enjoyed neither commercial nor critical success. According to Aranda, 'The film suffered from the producer's lack of enthusiasm, of which I was aware and which I tried to resolve. Producer Gómez explained,
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player. After five years, the marriage starts to fall apart, when Norma’s real character surfaces. The beautiful Norma is proud and cold, with dark sexual tendencies. She has a special attraction for “
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in the 1980s for cinematic adaptations of literary works. He felt a close affinity with novelist Juan Marsé; they had shared similar childhood experiences in their native
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haughty, obsessive and cold, while Juan Marés's disfigurement marks his alignment with the culture of his perfidious wife, whom he wants to regain sexually.
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Aranda often encodes his films with literary references rather than cinematic ones. He explained: 'I wanted to make cinematographic references to
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and makes the men she sleeps with hold up a shoe with their erection. Returning home earlier than expected, Juan finds his wife having sex with a
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name) is overwhelmed by the social position acquired through the marriage. There is little use in Marés’ new life for his skills as
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linguistic policies, nationalism and eroticism with a pattern of double identity that was based on elements from the author's life.
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between two languages that were so close — Catalan and
Spanish. I stated often that the dialectic should have established between
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as a nation. Despite its support from the government of
Catalonia, the film frames Catalanization comically, associating popular
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is also able to make the viewer feel alienated. Aranda became known as a film director skillful in handling erotic scenes. In
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in mind, and I almost made it. I should have taken things more to the extreme, but I have a tendency to moderation.'
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was an exciting challenge in that he had to play a character with dual personalities and different registers.
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beautifully.' Nevertheless, he went on to recall: 'My intention was to make a contemporary film, but with
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Juan and
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Vicente Aranda, 2006 Declaración de
Intenciones www.vicentearanda.es.
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subtitles. Extra items on the DVD include a press conference at the
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is similar to the adaptations Aranda made of two of Marsé’s novels,
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Stars and Masculinities in Spanish Cinema: From Banderas to Bardem
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Stars and Masculinities in Spanish Cinema: From banderas to Bardem
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Stars and Masculinities in Spanish Cinema: From banderas to Bardem
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shoe shiner. Her infidelity revealed, Norma leaves her husband.
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seamstress and an illusionist known as Fu-Ching. He grew up in
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Cánovás Belchí, Joaquín (ed.), Varios Autores (2000).
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The film was nominated for, but did not win, the 1994
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man from a humble background, the son of a frustrated
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Spanish director Vicente Aranda became well known in
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was the most appropriate director to make the film.
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916:, Murcia: Universidad de Murcia, 2000, p. 709
830:, Murcia: Universidad de Murcia, 2000, p. 70
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961:. Oxford; New York: Oxford University Press.
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794:documentary and cast and crew galleries.
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828:Miradas Sobre el Cine de Vicente Aranda
815:Miradas Sobre el Cine de Vicente Aranda
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715:. In its pattern of double identities,
903:, Oxford University Press, 2003, p. 30
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27:1993 Spanish film by Vicente Aranda
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1176:El Lute II: Tomorrow I'll be Free
933:. Murcia: Universidad de Murcia.
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813:Cánovás Belchí, Joaquín (ed.),
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943:Colmena, Enrique (1996).
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689:The Phantom of the Opera
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1186:If They Tell You I Fell
1146:Captain Sánchez's Crime
761:Best Adapted Screenplay
547:Tie Me Up! Tie Me Down!
410:If They Tell You I Fell
1375:Films set in the 1980s
1370:Films set in Barcelona
1355:Catalan-language films
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844:Perriam, Christopher,
751:Awards and nominations
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540:, who had appeared in
439:, it premiered at the
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146:1 April 1993
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447:was then released in
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157:8 June 1993
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1395:1990s Spanish films
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1216:The Bilingual Lover
1001:The Bilingual Lover
947:. Madrid: Cátedra.
772:El Amante Bilingüe
737:, a young man with
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221:The Bilingual Lover
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1096:Clara is the Price
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990:El Amante Bilingüe
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717:El Amante Bilingüe
705:El Amante Bilingüe
674:El Amante Bilingüe
665:and, instead of a
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18:El Amante Bilingüe
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174:Running time
165: (Italy)
154: (Spain)
86:Ornella Muti
82:Imanol Arias
1246:Libertarias
659:Los Angeles
559:Libertarias
556:(1994) and
475:as Griselda
435:). Shot in
419:Mario Camus
324:shoe fetish
304:Generalitat
300:linguistics
289:show trials
213:163,969,792
178:113 minutes
114:Teresa Font
104:Juan Amorós
68:Produced by
50:Directed by
1340:1993 films
1334:Categories
757:Goya Award
538:Loles León
473:Loles León
389:Production
378:Andalusian
252:Loles León
240:Juan Marsé
161:1993-06-08
150:1993-04-01
133:Lola Films
124:José Nieto
90:Loles León
60:Written by
792:making-of
655:Barcelona
628:Reception
614:Catalonia
592:Catalonia
437:Barcelona
399:Barcelona
351:Francoist
347:La Rambla
316:accordion
284:Barcelona
256:Barcelona
193:Languages
183:Countries
110:Edited by
1276:Mad Love
1266:Jealousy
1226:Intruder
609:eyepatch
574:Analysis
562:(1996).
343:Walden 7
320:xarnegos
280:zarzuela
120:Music by
78:Starring
784:English
780:Spanish
667:xarnego
651:Spanish
647:English
600:Catalan
583:Catalan
501:El Lute
374:Germany
328:xarnego
308:Catalan
302:of the
276:Catalan
264:Catalan
226:Spanish
201:Catalan
197:Spanish
159: (
148: (
1319:(2009)
1309:(2007)
1299:(2006)
1289:(2003)
1286:Carmen
1279:(2001)
1269:(1999)
1259:(1998)
1249:(1996)
1239:(1994)
1229:(1993)
1219:(1993)
1209:(1991)
1206:Lovers
1199:(1990)
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1179:(1988)
1169:(1987)
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1119:(1980)
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1079:(1969)
1069:(1965)
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618:Aranda
370:Murcia
293:Burgos
207:Budget
798:Notes
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596:Spain
496:Spain
449:Spain
433:Euros
395:Spain
188:Italy
186:Spain
995:IMDb
963:ISBN
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455:Cast
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