Mararía

Starting from the Spanish saying `Hay amores que matan' – there are loves that kill - Rafael Arozarena used his native Lanzarote background to write a tragic drama novel placed uncomfortably in the 30s and 40s. I say `uncomfortably' because the Spanish Civil War, only fleetingly mentioned in passing, takes only a very slight part in the development of the story. A beautiful `Mararía' (Goya Toledo) falls in love with an English geologist (Ian Glen) and becomes pregnant, making the young Basque doctor (Carmelo González), who is most definitely in love with her, exceedingly jealous. But it is not until after a six-year interruption due to the civil war that the film reaches its predictable and tragic outcome. The classical triangle structure. Nothing remarkably special, either in the story or in the actors. Underlined by the fact that Goya Toledo is definitely much more beautiful in real life than in this film. What is attractive is the scenario: the island of Lanzarote, the fourth largest island in the Canary Group. It is largely on volcanic soil such that the old lava flows can be used for rather unusual cultivation techniques, such as lush-green spring onions growing in black soil; or those little green bushes growing at the bottom of round shallow holes, which are in fact wine bushes and produce a tasty natural wine, mostly at the island's principle wine centre, Mozaga, a few kilometres north east of Yaiza, where most of the film is shot. The wine bushes grow out of these shallow man-made holes so as to be protected from the wind, which is a constant factor on Lanzarote. But these holes also have the double effect of being useful for collecting the dew which then trickles down to the base of the plant as the sun comes up. The newer volcanic areas form the part which is now called Timanfaya National Park, just 3 kms north of Yaiza, offering landscapes which are practically desert. No, the camels were not imported for the film: they form one of the long-standing tourist attractions on the island. Also of certain interest is some of the music played by local people in the bar using local melodies, including a dance version of a `jota'. Apart from that, Pedro Guerra´s musical apportation was rather like the rest of the film: predictable tremendism and lacking that touch of harmonious good taste. The film has its interesting points, but all in all it does not quite succeed in getting you into the story. I can only give it 5½ out of 10, being a little generous.

"Mararía" really disappointed me. I can't consider it as a bad movie, but the development just seemed too rushed and non-believable for it to evoke any emotions. Dr. Fermín displays some unprecedented bizarre behaviour out of a passion that one can't really understand where it was born from. I mean, how many times does he ever have a conversation with Mararía?? Maybe once? Also, Mararía never appeared to be a real character, instead more like a film stereotype that just needed to be in the movie (...or else another title was needed?). Some of the best acting came from a role that wasn't really important to the story, that of Marcial, the sub-intelligent yet humble drunkard. Of course, the scenery, the cultural tidbits of the Canary Islands, and other "wow" moments were interesting, but the movie fell short of a documentary (in case this was its real intention), and most importantly, as a solid drama.

Rich cinematography, the customs of 1940 s era (and possibly still today's) outing islands in the Canary chain. Lust, and provincial prejudices produce a highly watchable, and enjoyable film that is more than just a love story.

In general, this is an excellent film that reflects with great detail the time in which action develops (50's). Costumes, ambientation, and over all, a wonderful photography (the best of the film) gives you a clear idea of life in Lanzarote in that years. If you have read the book, don't expect an exact transliteration. New characters and situations are included, and the end in particular have a great change (personally, I prefer the book one). Anyway, its worth seeing it. A nice passions history with a great ambientation.

Set in the Canary Islands the location commands our immediate attention. The rough terrain is of volcanic origin and hot spots among the rocks can ignite a bundle of furze in a matter of seconds. We see that plants are nourished in nest-like excavations and down by the sea there is a network of saltlakes. To add to the unique atmosphere we see camels being used as a mode of transport. A strange place indeed! And what of the inhabitants? In such an isolated place it is understandable they seem somewhat bored with life. There is the pub of course and the adjacent dance hall....but not much else. They seem to be a superstitious lot believing that the ghosts of the dead can reappear from the sea.

Into this scene comes the rather quiet and conservative Fermin (Carmelo Gonzalez) a doctor to whom Mararia becomes instantly attracted. Not long afterwards an English vulcanologist (Iain Glen) arrives to survey the volcanic surroundings.

Following a rather quiet beginning, the film now takes on a sense of real drama. Beautiful Mararia discovers she is pregnant and on her wedding day it seems that her would-be husband the vulcanologist has disappeared with all his instruments. Now it is time to rid the house of all its evil spirits so Mararia's godmother gets busy weaving her magic spells.

When in years later Mararia's beautiful young child disappears it is just too much for Mararia to bear.

The film then races to a dramatic climax down by the sea. If you believe that the ghosts of the dead will rise up from the sea, think again. The ending is both tragic and unforgettable.