The movie
Frida, a biography of the Mexican painter Frida Kahlo (1907-1954), tells us whom she slept with, male and female; the lifelong pain she suffered after a hideous bus accident; what she wore; how she decorated her house; what she ate; how much she drank; what music she listened to; and what she read. What the movie doesn't tell us is how she developed her style of painting--surrealism that uses her bodily pain as its symbolic matrix. Her representative style is florid, feverish, and yet the figures seem detached, frozen. The paintings mostly show Kahlo herself, glancing out blankly like a sitter for a family portrait, sometimes posed almost conventionally
with pets or foliage, or,
more strikingly, holding hands with a second Frida, both with their anatomically rendered hearts exposed (like Christ in votive paintings, minus the certainty of a prettifying transcendence). Kahlo's style synthesizes the unself-consciousness of primitive painting, but there's something more sophisticated in the frank challenge she presents to the viewer. She was far too well educated to be called a naïve artist (and her father was also a visual artist, a photographer).
Instead, the movie is about her brawling marriage to the muralist Diego Rivera, who compulsively cheated on her, even with her own sister. This is the stuff of soap opera, and in fact
Frida is much closer in substance and feel to '50s melodramas than Todd Haynes's
Far from Heaven, which took them as its model. The heroine of
Far from Heaven is a sad paperdoll of a housewife who can't even finish a sentence when she discovers that her husband has been … with another …. Yes, Julianne Moore quivers exquisitely in
Far from Heaven, but how much sensitive helplessness can you sit through? Doris Day played more robust characters than Moore's. Salma Hayek as Kahlo reminds you of those gallant, hard-drinking broads played by Susan Hayward who won and lost their men, round after round, or of Lana Turner in her gamier roles, combined with the glamorous showhorses played by Hayward and Eleanor Parker who overcame plane wrecks or polio to belt their way back to the top from their wheelchairs. Frida Kahlo was an original painter, but the movie, while apparently sticking close to
the facts, is very Hollywood--sex, booze, and musical interludes (sometimes all three at once, as in a girl-on-girl dirty tango with Ashley Judd). In
Frida, as in soap opera, drama is synonymous with the torments of love. Hayek is a brave, tireless performer, and earthier than Hayward and Turner (though she leeringly overdoes the bisexual moments), but given the script she can only play Kahlo the "beguiling personality" she liked to think of herself as (according to Kahlo biographer Hayden Herrera) rather than Kahlo the artist.
The movie does stand out for including Leon Trotsky in the cast of the soap opera, again factually. I definitely prefer a movie that sentimentalizes Trotskyism to ones that sentimentalize Stalinism, but it's a little peculiar to see him frolicking in the sheets with Frida since the movie presents him not as a human but as an icon. He gives a speech that's meant to represent Trotskyism, but it's all generic movie-liberal ideals, no details, certainly no pesky details like "
Kronstadt."
At the very least the movie has led to the sight of Hayek filling her red dress at the Golden Globes. Arguably the most beautiful actress in movies right now, Hayek that night was my image of a goddess--she looked as if she could bring a thousand years of fertility to a land just by setting her foot on the soil.