REVIEW: Adaptation of Bizet’s legendary opera gives us star-crossed lovers on the Mexican border, flamenco dancing, and a very sweaty sex symbol.
) has buried it deep within the score’s melodies, mixes, and ensemble choir pieces. Ditto “The Toreador’s Song” and any other number of the opera’s swooning, lung-testing arias. Millipied has worked with a trio of screenwriters — Loïc Barrere, Alexander Dinelaris, and Lisa Loomer — to craft something that merely uses the bare bones of Prosper Mérrimée’s novella and Alexander Pushkin’s poem “The Gypsies” as starting points.
It isn’t surprising that the dance numbers are the strongest sequences here, especially when cinematographer Jörg Widmer starts whipping the camera around. Yet what thisreally adds to the legacy of this star-crossed lovers story are a pair of movie stars. You can’t underestimate the sheer pleasure of watching two extremely photogenic people fall head over heels for each other, and Millipied’s homage/revisionist retelling is practically an exhibit of white-hot screen heat.
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