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# Y ella es flama que se eleva | 0:00:02 | 0:00:05 | |
# Y es un pajaro a volar | 0:00:06 | 0:00:11 | |
# En la noche que se incendia | 0:00:12 | 0:00:19 | |
# El infierno es este cielo... # | 0:00:20 | 0:00:25 | |
This programme contains some strong language | 0:00:30 | 0:00:36 | |
Arriba! Arriba, arriba, arriba! | 0:01:20 | 0:01:23 | |
Vamos! | 0:01:23 | 0:01:24 | |
Careful, guys. | 0:01:28 | 0:01:30 | |
This corpse is still breathing. | 0:01:30 | 0:01:32 | |
Uh! | 0:01:32 | 0:01:35 | |
Try to get me there in one piece. | 0:01:35 | 0:01:38 | |
-Hello, Professor. -Hello, Frida. | 0:02:22 | 0:02:24 | |
-Diego Rivera is back in the auditorium! -Who cares? -With a naked woman. | 0:02:30 | 0:02:34 | |
Shh... | 0:02:49 | 0:02:50 | |
Why is this whore still here? Huh? | 0:02:59 | 0:03:03 | |
Tell me. | 0:03:03 | 0:03:05 | |
Tell me, mi amor. | 0:03:05 | 0:03:08 | |
-Are you planning to have her after lunch, or have you fucked her already? -Lupe, please don't start. | 0:03:08 | 0:03:14 | |
You think I don't know what's going on, you must think I'm an idiot! | 0:03:14 | 0:03:18 | |
-I can't work like this. -Yes, you can. Your food and your slut. | 0:03:18 | 0:03:21 | |
That's all you need to paint your pinche murals! | 0:03:21 | 0:03:23 | |
Hey! Get out! | 0:03:23 | 0:03:25 | |
And don't come home and give me one of your speeches | 0:03:25 | 0:03:28 | |
about the artist and the people and your fucking revolution! | 0:03:28 | 0:03:31 | |
You only care about yourself, you piece of shit! | 0:03:31 | 0:03:34 | |
Ah, so much for lunch. Although... | 0:03:40 | 0:03:44 | |
I could eat you, perhaps. | 0:03:46 | 0:03:48 | |
I've eaten female flesh before, yes. | 0:03:50 | 0:03:53 | |
Wrapped up in...tortillas. | 0:03:56 | 0:03:59 | |
It tastes like...the tenderest young...pig. | 0:04:05 | 0:04:10 | |
Watch out, Diego! Lupe's coming back! | 0:04:21 | 0:04:24 | |
Fucking punks! | 0:04:27 | 0:04:29 | |
Come on, you little anarchists! | 0:04:29 | 0:04:32 | |
-Come and light one of your firecrackers if you dare! -Let's go. | 0:04:32 | 0:04:36 | |
Frida... | 0:04:36 | 0:04:37 | |
Just keeping you honest, panzon. | 0:04:41 | 0:04:44 | |
Panzon... | 0:04:47 | 0:04:50 | |
Do I look fat to you? | 0:04:50 | 0:04:52 | |
Shh! | 0:04:57 | 0:04:59 | |
THEY GASP AND MOAN | 0:05:03 | 0:05:07 | |
Shh! | 0:05:08 | 0:05:10 | |
-Here you are. -Gracias. | 0:05:37 | 0:05:39 | |
Frida, we found the most beautiful fabric for my wedding dress today. | 0:05:41 | 0:05:45 | |
-Fantastic. -It cost a fortune. | 0:05:45 | 0:05:48 | |
-Mama? -Yes? -Are these ripe? | 0:05:55 | 0:05:58 | |
They should be, let me see. | 0:05:58 | 0:06:00 | |
Yes, they're fine. Just need a day or two. | 0:06:00 | 0:06:03 | |
Maybe you'll get married too, one day. | 0:06:04 | 0:06:07 | |
One can only hope. | 0:06:07 | 0:06:09 | |
Lunch is almost ready. | 0:06:09 | 0:06:12 | |
Go get the artist. | 0:06:12 | 0:06:14 | |
I love this one... | 0:06:16 | 0:06:18 | |
It's beautiful. | 0:06:18 | 0:06:20 | |
I like it, too. | 0:06:20 | 0:06:22 | |
They're busy with the wedding. | 0:06:24 | 0:06:26 | |
-Cristina is so excited about her dress. -Good. | 0:06:26 | 0:06:30 | |
Everyone should be excited when they get married. | 0:06:30 | 0:06:33 | |
I suppose - if that's what you want. | 0:06:33 | 0:06:37 | |
And, er...what do you want? | 0:06:37 | 0:06:40 | |
I don't know. | 0:06:43 | 0:06:45 | |
I just don't think that marriage is for everyone. | 0:06:45 | 0:06:47 | |
Well, you need a good reason to do it, just like with anything else. | 0:06:47 | 0:06:51 | |
What do you think matters most for a good marriage? | 0:06:51 | 0:06:55 | |
A short memory. | 0:06:55 | 0:06:57 | |
Why did you get married, Papa? | 0:07:01 | 0:07:03 | |
I can't remember. | 0:07:03 | 0:07:05 | |
So I could have you. | 0:07:06 | 0:07:09 | |
-Concentrate, everybody. -Wait, where is Frida? | 0:07:12 | 0:07:15 | |
Adriana, go tell your sister to hurry up. | 0:07:15 | 0:07:19 | |
I always wanted a son. | 0:07:32 | 0:07:36 | |
And now Matilde, everyone, eyes to the camera and... | 0:07:36 | 0:07:40 | |
Come on, we'll miss our bus. | 0:07:50 | 0:07:53 | |
Oh! | 0:08:09 | 0:08:10 | |
Frida! | 0:08:10 | 0:08:12 | |
How much is the calaca? | 0:08:12 | 0:08:15 | |
Frida, come on! | 0:08:15 | 0:08:17 | |
-The bus! -We'll take the next one. | 0:08:21 | 0:08:23 | |
No, no, no! Come, come, come! | 0:08:23 | 0:08:25 | |
Watch out... Hey! Hey! | 0:08:26 | 0:08:28 | |
Anyway, I just don't think he's completely apolitical, that's all. | 0:08:37 | 0:08:42 | |
That's because you read it after you read Marx. | 0:08:42 | 0:08:45 | |
You always read things in the wrong order. | 0:08:45 | 0:08:47 | |
That's ridiculous. Why should it matter what order you read it in? | 0:08:47 | 0:08:50 | |
If you have already read Marx, of course Hegel is going to seem political, | 0:08:50 | 0:08:55 | |
but the truth is the idea of history as a dialectic just predicts Marx... | 0:08:55 | 0:08:59 | |
Is that gold? Real gold? | 0:08:59 | 0:09:02 | |
For the ceiling of the opera house. | 0:09:04 | 0:09:07 | |
HORN BLARES | 0:09:07 | 0:09:09 | |
Move it! | 0:09:11 | 0:09:13 | |
HORN BLARES | 0:09:17 | 0:09:19 | |
TYRES SQUEAL | 0:09:22 | 0:09:24 | |
Your brake! | 0:09:32 | 0:09:34 | |
The spinal column was broken, as were the collarbone and two ribs. | 0:10:44 | 0:10:49 | |
The pelvis is broken in three places. | 0:10:49 | 0:10:51 | |
The metal rod entered the right side of the body and came out the vagina. | 0:10:51 | 0:10:55 | |
The right leg has 11 fractures, and the foot was crushed. | 0:10:55 | 0:10:58 | |
Will she ever walk again? | 0:10:58 | 0:11:01 | |
Let's make sure she lives first. | 0:11:01 | 0:11:03 | |
-Is Alex alive? -Frida! -Is he all right? | 0:11:31 | 0:11:35 | |
He was hurt, but not terribly. | 0:11:35 | 0:11:37 | |
He was here yesterday when you were not awake. | 0:11:37 | 0:11:40 | |
And Mama? | 0:11:40 | 0:11:43 | |
-It was too much for them. They are at home. -How long have I been here? | 0:11:43 | 0:11:47 | |
Three weeks. | 0:11:47 | 0:11:49 | |
We're almost there. | 0:12:06 | 0:12:08 | |
Gently, now. | 0:12:10 | 0:12:11 | |
-There is nothing left to spend. -I will sell some of my equipment. | 0:12:45 | 0:12:48 | |
For another operation that probably won't work? | 0:12:48 | 0:12:50 | |
No. Listen. | 0:12:50 | 0:12:52 | |
Maybe this time it will work. | 0:12:52 | 0:12:54 | |
And then how will you make money? | 0:12:54 | 0:12:56 | |
I'll...paint portraits again. | 0:12:56 | 0:13:00 | |
Admit it, Guillermo. | 0:13:00 | 0:13:02 | |
She'll never walk again. | 0:13:02 | 0:13:04 | |
Go on in, Alex. She's waiting for you. | 0:13:07 | 0:13:11 | |
Hello, ugly. | 0:13:24 | 0:13:26 | |
They're beautiful. | 0:13:28 | 0:13:30 | |
-How do you feel? -Like I've been hit by a bus. | 0:13:30 | 0:13:33 | |
-SHE LAUGHS -Come on, silly. Come, come. | 0:13:33 | 0:13:37 | |
Come sit with me. Look. | 0:13:37 | 0:13:39 | |
It's my only good angle at the moment. | 0:13:39 | 0:13:41 | |
No, it's not. | 0:13:41 | 0:13:44 | |
I like you this way. | 0:13:44 | 0:13:46 | |
You're easier to keep up with. | 0:13:46 | 0:13:48 | |
Spengler, because you love him. | 0:14:00 | 0:14:03 | |
Schopenhauer because it's good for you. | 0:14:03 | 0:14:06 | |
Oh, Alex. | 0:14:06 | 0:14:08 | |
You know I adore you. I've missed you so much. | 0:14:08 | 0:14:12 | |
I told the doctor the handrail had taken my virginity. | 0:14:16 | 0:14:21 | |
And I'm sure he believed you. | 0:14:21 | 0:14:24 | |
You know, | 0:14:26 | 0:14:28 | |
when I get out of this cast, | 0:14:28 | 0:14:31 | |
I'm going to show you a couple of things I still remember from before. | 0:14:31 | 0:14:35 | |
OK. | 0:14:36 | 0:14:38 | |
What? | 0:14:38 | 0:14:39 | |
My aunt and my uncle are leaving for Europe, and... | 0:14:42 | 0:14:46 | |
..they've invited me to come along. | 0:14:47 | 0:14:49 | |
But that's wonderful. | 0:14:51 | 0:14:53 | |
When would you leave? | 0:14:53 | 0:14:55 | |
Soon. | 0:14:55 | 0:14:57 | |
Next week. | 0:14:57 | 0:14:59 | |
How long will you be gone? | 0:15:01 | 0:15:03 | |
They're going for two months, | 0:15:03 | 0:15:06 | |
and afterwards I might stay on at the Sorbonne. | 0:15:06 | 0:15:08 | |
I will be staying on. | 0:15:11 | 0:15:13 | |
Did I tell you that I'm going to walk again? | 0:15:24 | 0:15:26 | |
Yes. | 0:15:26 | 0:15:28 | |
Do you believe it? | 0:15:28 | 0:15:31 | |
Of course I do. | 0:15:31 | 0:15:33 | |
You'd better. | 0:15:33 | 0:15:35 | |
-Because you're going to miss it. -Frida... | 0:15:35 | 0:15:38 | |
I want you to leave before I finish this butterfly. | 0:15:38 | 0:15:41 | |
How are you feeling? | 0:16:33 | 0:16:35 | |
How am I feeling? | 0:16:37 | 0:16:39 | |
I can't even remember what it felt like before the pain. | 0:16:39 | 0:16:43 | |
-Isn't that horrible? -Dr Farril is coming on Monday. | 0:16:44 | 0:16:49 | |
He is bringing a back specialist, Dr Cervantes. | 0:16:49 | 0:16:53 | |
I feel like some rich girl with a new suitor every week. | 0:16:54 | 0:16:59 | |
But all my suitors have turned into doctors. | 0:16:59 | 0:17:04 | |
And I'm not a rich girl, Papa. | 0:17:04 | 0:17:06 | |
How come you never ask me about my plans any more? Hm? | 0:17:09 | 0:17:14 | |
You used to always say, "Tell me your plans, Frida." | 0:17:14 | 0:17:19 | |
What are your plans, Frida? | 0:17:21 | 0:17:24 | |
Right now I'm a burden. | 0:17:26 | 0:17:28 | |
But I hope to be a self-sufficient cripple one day. | 0:17:28 | 0:17:32 | |
After that, I don't know. | 0:17:32 | 0:17:34 | |
You are not a burden... | 0:17:34 | 0:17:37 | |
my love. | 0:17:37 | 0:17:39 | |
See, here... | 0:17:41 | 0:17:43 | |
We have something for you. | 0:17:43 | 0:17:45 | |
Matilde, come. | 0:17:45 | 0:17:46 | |
-We noticed that there was no more room left on your cast... -Oh! | 0:17:46 | 0:17:51 | |
-Now you look like a gringa movie star. -Let me see. | 0:19:16 | 0:19:19 | |
-It's too much money... -Mama, Papa. | 0:19:25 | 0:19:28 | |
I have a surprise. | 0:19:28 | 0:19:31 | |
-Careful, now! -Don't worry. Don't worry. It's all right. | 0:19:43 | 0:19:48 | |
Aaaaaah! | 0:20:05 | 0:20:09 | |
I need the ochre. | 0:20:50 | 0:20:52 | |
-Is it ready? -Almost. | 0:20:52 | 0:20:55 | |
No, now. I need it now. | 0:20:55 | 0:20:57 | |
Senor Rivera? | 0:21:02 | 0:21:04 | |
Diego! | 0:21:06 | 0:21:08 | |
Who are you? What do you want? | 0:21:08 | 0:21:11 | |
I have something important to discuss with you. | 0:21:11 | 0:21:13 | |
-I'm working. -I'll wait. | 0:21:15 | 0:21:18 | |
I don't have time to chat with schoolgirls. | 0:21:18 | 0:21:22 | |
I'm not a schoolgirl, panzon. | 0:21:22 | 0:21:24 | |
OK. Come on up here. | 0:21:29 | 0:21:32 | |
No. You come down. | 0:21:32 | 0:21:35 | |
-What? -Look, I didn't come here for fun or to flirt. | 0:21:55 | 0:22:00 | |
I've done some paintings which I want you to look over professionally, | 0:22:00 | 0:22:03 | |
and I need an absolutely straightforward opinion of my work. | 0:22:03 | 0:22:06 | |
-You were that girl in the auditorium. -Yes, I was, | 0:22:06 | 0:22:09 | |
but that has nothing to do with now. | 0:22:09 | 0:22:12 | |
-I just want your serious opinion. -What do you care about my opinion? | 0:22:12 | 0:22:15 | |
If you're a real painter, you'll paint because you can't live without it. You'll paint until you die, OK? | 0:22:15 | 0:22:21 | |
I have to work to earn a living, so I don't have time to fool around just for vanity. | 0:22:21 | 0:22:26 | |
If I'm not good enough, I have to do something else to help my parents. | 0:22:26 | 0:22:30 | |
Leave the best one here. | 0:22:33 | 0:22:36 | |
Go home and paint another one. If this one's any good, I'll come and look at that one on my day off. | 0:22:36 | 0:22:41 | |
Orozco is a true artist. He's tremendous. | 0:22:47 | 0:22:50 | |
And Siqueiros could be great if he'd pull his head out of his own ass and look around. | 0:22:50 | 0:22:55 | |
Comrade Rivera. | 0:23:30 | 0:23:32 | |
What a nice surprise. | 0:23:32 | 0:23:34 | |
What if I told you that | 0:23:44 | 0:23:47 | |
easel painting like yours is finished, | 0:23:47 | 0:23:51 | |
that it's headed for the trash like other elitist, bourgeois pastimes? | 0:23:51 | 0:23:55 | |
I'd say cut the propaganda. | 0:23:55 | 0:23:57 | |
This is very good work. | 0:24:01 | 0:24:03 | |
-You have real talent. -Oh, come on. | 0:24:04 | 0:24:07 | |
I'm not looking for your compliments. | 0:24:07 | 0:24:10 | |
I want a serious critique. | 0:24:10 | 0:24:12 | |
But I'm being sincere. | 0:24:12 | 0:24:14 | |
These are very original paintings, | 0:24:14 | 0:24:17 | |
none of the usual tricks. | 0:24:17 | 0:24:19 | |
But that's not specific. | 0:24:19 | 0:24:22 | |
You have to trust a true compliment as much as a critique. | 0:24:22 | 0:24:25 | |
Yeah, well, some people have told me not to trust what you say. | 0:24:25 | 0:24:30 | |
They say if a girl asks your opinion, and she's not a complete fright, you'll gush all over her. | 0:24:30 | 0:24:36 | |
I need you to tell me one thing, honestly. | 0:24:38 | 0:24:41 | |
Do you actually believe that I should continue to paint? | 0:24:41 | 0:24:44 | |
Yes. | 0:24:44 | 0:24:45 | |
Yes. | 0:24:47 | 0:24:49 | |
You'll like Tina. She's a brilliant photographer, one of the few with real taste. | 0:25:00 | 0:25:04 | |
Do you know Alvarez Bravo? | 0:25:04 | 0:25:06 | |
I know his work. It's good. | 0:25:06 | 0:25:09 | |
I'll introduce you to him. He'll want to photograph you. | 0:25:09 | 0:25:11 | |
-Without clothes, of course. -Of course! | 0:25:11 | 0:25:14 | |
That's the thing about these radicals. | 0:25:17 | 0:25:19 | |
They're a little dangerous, but they definitely throw the best parties. | 0:25:19 | 0:25:23 | |
-Ah, at last! Il monstro! -Tina! | 0:25:23 | 0:25:27 | |
This is Frida Kahlo. She's a wonderful painter. | 0:25:31 | 0:25:35 | |
She wants to be a wonderful painter. | 0:25:35 | 0:25:38 | |
Don't be shy. Nobody really thinks their own stuff is good except Diego. He's the only one who's sure. | 0:25:38 | 0:25:43 | |
Go find Siqueiros. He's been bad-mouthing you again. | 0:25:43 | 0:25:46 | |
You come with me. | 0:25:46 | 0:25:49 | |
Great party. | 0:25:49 | 0:25:52 | |
Everybody, I have someone for you to meet. This is Frida Kahlo. | 0:25:55 | 0:25:58 | |
She came with Diego. Another pretty girl... | 0:25:58 | 0:26:01 | |
She's quite a talent, no? | 0:26:17 | 0:26:20 | |
Julio Mella, the Cuban. | 0:26:20 | 0:26:23 | |
Tina took the last photo of him. | 0:26:23 | 0:26:25 | |
She was with him on the street when they gunned him down. | 0:26:25 | 0:26:29 | |
LAUGHTER | 0:26:29 | 0:26:32 | |
Incredible. | 0:26:32 | 0:26:34 | |
They're like clay in his hands. | 0:26:34 | 0:26:37 | |
-It must be that body. -No. | 0:26:37 | 0:26:40 | |
It's the way he looks at you... | 0:26:40 | 0:26:42 | |
and finds beauty in all your imperfections. | 0:26:42 | 0:26:45 | |
It's irresistible. | 0:26:45 | 0:26:48 | |
You'd never think it to look at him, but he's had half the women here. | 0:26:48 | 0:26:53 | |
I'm sorry. Did you come with him? | 0:26:53 | 0:26:56 | |
Oh, no...we're just friends. | 0:26:56 | 0:26:59 | |
I'm Frida Kahlo. I'm a painter. | 0:26:59 | 0:27:02 | |
A painter. No wonder. | 0:27:02 | 0:27:04 | |
Mm-hmm. I'm Lupe Marin. I'm his wife. | 0:27:04 | 0:27:08 | |
Ah... | 0:27:08 | 0:27:10 | |
I was his wife. | 0:27:10 | 0:27:13 | |
Good luck to you. | 0:27:13 | 0:27:15 | |
Bad-mouth him all you want, Diego. | 0:27:18 | 0:27:21 | |
But while we have been talking about socialism over drinks at parties for ten years, Stalin is making it work. | 0:27:21 | 0:27:28 | |
-He's achieving it. -Achieving what? | 0:27:28 | 0:27:31 | |
His only big idea so far is to throw out all the real thinkers in the land. | 0:27:31 | 0:27:35 | |
-He just threw YOU out. -No. Not just me. | 0:27:35 | 0:27:38 | |
No, not just you. Mr Trotsky... | 0:27:38 | 0:27:40 | |
-a man who plays the martyr when, in truth, he was rejected by his own country. Good riddance. -No. | 0:27:40 | 0:27:46 | |
He had to run for his life. Stalin would have had him shot. | 0:27:46 | 0:27:48 | |
That's his version of socialism... | 0:27:48 | 0:27:51 | |
kill anyone who disagrees with you. | 0:27:51 | 0:27:53 | |
Well, some people have to get shot in a revolution, you know. | 0:27:53 | 0:27:56 | |
Well, I prefer evolution. | 0:27:56 | 0:27:58 | |
Educate the poor. | 0:27:58 | 0:28:00 | |
Mobilize the workers. | 0:28:00 | 0:28:02 | |
Rise like a slow tide. But you... | 0:28:02 | 0:28:04 | |
you'll have your revolution and kill half the poor to save them. | 0:28:04 | 0:28:07 | |
Diego, this from a Communist who's getting rich painting for the government and wealthy patrons? | 0:28:07 | 0:28:13 | |
I can't help it if the rich have good taste. | 0:28:13 | 0:28:14 | |
The rich don't have good taste. | 0:28:14 | 0:28:17 | |
They pay someone to have good taste for them. | 0:28:17 | 0:28:20 | |
And they don't hire you because you are good. | 0:28:20 | 0:28:23 | |
They hire you because you assuage their sense of guilt. | 0:28:23 | 0:28:26 | |
They use you, Diego, | 0:28:26 | 0:28:29 | |
and you are too vain to see it. | 0:28:29 | 0:28:31 | |
No! Diego, no! | 0:28:32 | 0:28:35 | |
SCREAMS | 0:28:35 | 0:28:37 | |
Basta. | 0:28:39 | 0:28:41 | |
Whoever takes the biggest swig can dance with me. | 0:28:41 | 0:28:45 | |
Bravo. | 0:29:05 | 0:29:07 | |
I'd rather have an intelligent enemy than a stupid friend... | 0:29:11 | 0:29:15 | |
Shall we? | 0:29:46 | 0:29:48 | |
# La noche ira | 0:30:08 | 0:30:12 | |
# Sin prisa de nostalgia | 0:30:12 | 0:30:16 | |
# Habra de ser un tango | 0:30:18 | 0:30:22 | |
# Nuestra herida | 0:30:22 | 0:30:24 | |
# Un acordeon sangriento | 0:30:25 | 0:30:30 | |
# Nuestras almas | 0:30:30 | 0:30:32 | |
# Seremos esta noche | 0:30:35 | 0:30:38 | |
# Todo el dia | 0:30:38 | 0:30:41 | |
# Vuelve a mi | 0:30:42 | 0:30:45 | |
# Amame sin luz | 0:30:45 | 0:30:48 | |
# En nuestra alcoba azul | 0:30:48 | 0:30:53 | |
# Donde no hubo sol para nosotros | 0:30:53 | 0:31:00 | |
# Ciegame | 0:31:01 | 0:31:03 | |
# Mata mi corazon | 0:31:03 | 0:31:07 | |
# En nuestra alcoba azul | 0:31:07 | 0:31:11 | |
# Mi amor! # | 0:31:17 | 0:31:24 | |
INAUDIBLE | 0:31:58 | 0:32:00 | |
THEY SHOUT SLOGANS | 0:32:00 | 0:32:04 | |
-...and more women. -Next time I'll make sure that happens, OK? | 0:32:12 | 0:32:16 | |
Miss Kahlo. | 0:32:18 | 0:32:21 | |
You may have to hold me up. | 0:32:21 | 0:32:23 | |
That Torres is a good man, but he's got to be much more careful. | 0:32:25 | 0:32:28 | |
What is this, your studio? | 0:32:34 | 0:32:36 | |
One of the benefits of being party leader - you can arrange for the drinking to be done close to home. | 0:32:36 | 0:32:42 | |
And now that you are officially a comrade, I believe I can let you see it, if you like. | 0:32:42 | 0:32:47 | |
Hey, listen. | 0:32:47 | 0:32:49 | |
-If you think I'm going to sleep with you just because you've taken me under your wing, you're wrong. -Me? | 0:32:49 | 0:32:55 | |
I was painting murals and womanizing in peace when you came along. | 0:32:55 | 0:32:59 | |
Anyway, sex is like pissing. | 0:32:59 | 0:33:01 | |
People take it much too seriously. | 0:33:01 | 0:33:04 | |
In Russia... Oh, my God, in Russia, everyone was fucking like rabbits. | 0:33:04 | 0:33:07 | |
Well, this isn't Russia. | 0:33:07 | 0:33:09 | |
No, thank Christ. | 0:33:09 | 0:33:11 | |
I have a proposal. | 0:33:13 | 0:33:16 | |
We will not sleep together. | 0:33:16 | 0:33:18 | |
-We will solemnly swear, right here, right now, that we will be friends only. -Fine. | 0:33:18 | 0:33:24 | |
Comrades, colleagues, and friends for ever. | 0:33:24 | 0:33:29 | |
Did you arrange for that? | 0:33:44 | 0:33:46 | |
Cost me a fortune. | 0:33:47 | 0:33:50 | |
I have a scar. | 0:34:13 | 0:34:15 | |
Let me see it. | 0:34:16 | 0:34:18 | |
You're perfect. | 0:34:31 | 0:34:33 | |
Perfect. | 0:34:35 | 0:34:37 | |
Ah... | 0:35:05 | 0:35:07 | |
Mmm! I always wanted a man with melones bigger than mine. | 0:35:11 | 0:35:17 | |
-You know what I've always loved? -What? -A girl with cojones. | 0:35:20 | 0:35:25 | |
Ah! | 0:35:27 | 0:35:29 | |
-Ooh! Aah! -Oh! | 0:35:31 | 0:35:34 | |
-These are good, Frida. I love them. -Hmm. | 0:35:42 | 0:35:45 | |
And you were probably painting better when you were 12. | 0:35:45 | 0:35:48 | |
That's nonsense. | 0:35:48 | 0:35:50 | |
-I could never paint like this. -Oh! | 0:35:50 | 0:35:53 | |
I couldn't. I'm serious. | 0:35:53 | 0:35:55 | |
I paint what I see... | 0:35:57 | 0:35:59 | |
the world outside. | 0:35:59 | 0:36:02 | |
But you... | 0:36:04 | 0:36:06 | |
you paint from here. | 0:36:06 | 0:36:08 | |
It's wonderful. | 0:36:08 | 0:36:11 | |
I can see why you're so successful with women. | 0:36:11 | 0:36:15 | |
We'll have to get married, you know. | 0:36:21 | 0:36:23 | |
What? | 0:36:24 | 0:36:26 | |
The thing is... | 0:36:26 | 0:36:28 | |
I think it's quite possible that we were born for each other, | 0:36:30 | 0:36:34 | |
so we should marry. | 0:36:34 | 0:36:36 | |
But you don't believe in marriage. | 0:36:36 | 0:36:39 | |
Of course I do. I've had two wives already. | 0:36:39 | 0:36:41 | |
Exactly. | 0:36:41 | 0:36:43 | |
You can't be true to only one woman. | 0:36:43 | 0:36:44 | |
True, yes. | 0:36:44 | 0:36:47 | |
Faithful... | 0:36:47 | 0:36:50 | |
no. | 0:36:50 | 0:36:52 | |
-Unfortunately, I'm physiologically incapable of fidelity. -Oh, really? | 0:36:52 | 0:36:57 | |
Yes. A doctor acquaintance of mine confirmed this. | 0:36:57 | 0:37:01 | |
What a convenient diagnosis. | 0:37:01 | 0:37:03 | |
Is fidelity that important to you? | 0:37:04 | 0:37:07 | |
Loyalty is important to me. | 0:37:11 | 0:37:14 | |
-Can you be loyal? -To you? | 0:37:14 | 0:37:17 | |
-Always. -Good. | 0:37:17 | 0:37:20 | |
Because I love you, panzon. | 0:37:20 | 0:37:22 | |
Fridocha. | 0:37:22 | 0:37:25 | |
I accept! | 0:37:25 | 0:37:27 | |
What a beautiful bride you are. | 0:37:44 | 0:37:46 | |
-Don't touch me! -Oh, you think I'm going to hit you? | 0:37:55 | 0:37:59 | |
But he's divorced twice. He's had God knows how many children. | 0:37:59 | 0:38:03 | |
And he's an atheist, Guillermo. | 0:38:03 | 0:38:05 | |
Perhaps you have forgotten, and forgive me for reminding you, | 0:38:05 | 0:38:08 | |
but I am a German Jew, and you married me, remember? | 0:38:08 | 0:38:12 | |
-Yes. -Hmm. | 0:38:12 | 0:38:14 | |
He's also a Communist. | 0:38:14 | 0:38:15 | |
A Communist who is generous enough to pay off our mortgage. | 0:38:15 | 0:38:19 | |
It's like the marriage of an elephant and a dove. | 0:38:19 | 0:38:22 | |
Oh, your toe! | 0:39:06 | 0:39:08 | |
It's been a long time. | 0:39:10 | 0:39:12 | |
-I don't want to talk. -I told you I wanted you to come. | 0:39:12 | 0:39:15 | |
-I don't want to talk! -Please! Cris... Cristina! -Get back! | 0:39:15 | 0:39:22 | |
-I give them...six months. -Six? | 0:39:39 | 0:39:43 | |
I give them two. | 0:39:43 | 0:39:45 | |
-I don't believe in marriage. -LAUGHTER | 0:39:49 | 0:39:53 | |
No, I really don't! Let me be clear about that. | 0:39:53 | 0:39:56 | |
I think at worst it's a hostile political act, | 0:39:56 | 0:39:59 | |
a way for small-minded men to keep women in the house and out of the way, | 0:39:59 | 0:40:05 | |
wrapped up in the guise of tradition and conservative religious nonsense. | 0:40:05 | 0:40:10 | |
At best, it's a happy delusion. | 0:40:10 | 0:40:13 | |
These two people who truly love each other | 0:40:13 | 0:40:15 | |
and have no idea how truly miserable they're about to make each other. | 0:40:15 | 0:40:20 | |
LAUGHTER | 0:40:20 | 0:40:22 | |
But... But... when two people know that, | 0:40:22 | 0:40:26 | |
and they decide with eyes wide open to face each other and get married anyway, | 0:40:26 | 0:40:33 | |
then I don't think it's conservative or delusional. | 0:40:33 | 0:40:36 | |
I think it's radical and courageous and very romantic. | 0:40:36 | 0:40:41 | |
-To Diego and Frida. -Diego and Frida. | 0:40:43 | 0:40:46 | |
# Borrachita me voy | 0:40:48 | 0:40:54 | |
# Para olvidarte | 0:40:55 | 0:41:01 | |
# Te quiero mucho | 0:41:01 | 0:41:06 | |
# Tambien me quieres | 0:41:06 | 0:41:12 | |
# Borrachita me voy | 0:41:12 | 0:41:17 | |
# Hasta la capital | 0:41:17 | 0:41:22 | |
# Para servirle al patron | 0:41:22 | 0:41:26 | |
# Que me mando llamar | 0:41:26 | 0:41:31 | |
# Anteayer... # | 0:41:31 | 0:41:35 | |
Aaaah! | 0:41:35 | 0:41:38 | |
You're crazy! You know that? You're crazy. | 0:41:40 | 0:41:43 | |
You son of a bitch! | 0:41:43 | 0:41:45 | |
You like these legs? | 0:41:47 | 0:41:49 | |
-Oh, Lupe. Lupe, no. -You like those legs, Diego? | 0:41:49 | 0:41:53 | |
You give up these beauties, for these matchsticks? This peg leg? | 0:41:53 | 0:41:58 | |
Mira! Mira! | 0:41:58 | 0:42:01 | |
DIEGO LAUGHS | 0:42:07 | 0:42:10 | |
Viva la revolucion. | 0:42:19 | 0:42:22 | |
Ay! | 0:42:30 | 0:42:32 | |
My mother was wrong about you, you know? | 0:42:32 | 0:42:35 | |
She said you were an elephant. But you're not. | 0:42:35 | 0:42:38 | |
Elephants are strong and courageous, and they defend their mates. | 0:42:38 | 0:42:42 | |
You are a toad. You even look like a toad. | 0:42:42 | 0:42:45 | |
And you look like a dog. Dove! Dove! | 0:42:45 | 0:42:49 | |
Did I say dog? No, I meant dove. | 0:42:49 | 0:42:51 | |
You are my little paloma. | 0:42:54 | 0:42:56 | |
What will people say about such a pair? | 0:43:06 | 0:43:08 | |
They'll have never seen a better match. | 0:43:09 | 0:43:12 | |
Thank you. | 0:43:19 | 0:43:21 | |
For what? | 0:43:21 | 0:43:23 | |
For making a fat, old, crazy Communist a happy man. | 0:43:23 | 0:43:27 | |
Ohh... | 0:43:31 | 0:43:33 | |
NOISES FROM KITCHEN | 0:43:37 | 0:43:40 | |
Sit. Eat. | 0:43:55 | 0:43:57 | |
Mi amor! | 0:44:00 | 0:44:03 | |
-Mmm! -Good, eh? | 0:44:08 | 0:44:10 | |
Mmm! | 0:44:10 | 0:44:12 | |
What a wonderful morning! | 0:44:12 | 0:44:14 | |
Lupe's special recipe. | 0:44:14 | 0:44:16 | |
Well, you've mastered it. | 0:44:16 | 0:44:19 | |
I can't cook to save my life. | 0:44:19 | 0:44:21 | |
She brought it down for us while you were sleeping. | 0:44:21 | 0:44:24 | |
-Brought it down? -Mm. She's in the apartment upstairs with my kids. | 0:44:26 | 0:44:29 | |
I let her have it till she finds a place in town. | 0:44:29 | 0:44:32 | |
I'm not just passing through, you know! I'm here to stay! | 0:44:50 | 0:44:53 | |
Is that what you came to tell me? | 0:44:53 | 0:44:55 | |
I'm here to stay. | 0:44:55 | 0:44:58 | |
So stay out of my damn kitchen. | 0:44:58 | 0:45:01 | |
You like my mole? | 0:45:02 | 0:45:04 | |
-So-so. -Well, he lives for it. | 0:45:06 | 0:45:08 | |
So if you're here to stay, you better learn how to make it. | 0:45:08 | 0:45:12 | |
I was so angry. He didn't come home for three days. Pass me the cilantro. | 0:45:12 | 0:45:17 | |
So, I took two of his damn Aztec idols, that he adores, you know. | 0:45:17 | 0:45:24 | |
And I smashed the pieces of clay in the boiling pot of beef stock and told him it was sopa Azteca. | 0:45:24 | 0:45:31 | |
-Medea! Did he eat it? -He did. -Did he like it? | 0:45:31 | 0:45:36 | |
He loved it. | 0:45:36 | 0:45:38 | |
Of course, until he found out. | 0:45:40 | 0:45:43 | |
Then he got sick. He got furious. Oof! | 0:45:43 | 0:45:46 | |
It didn't make me feel any better. | 0:45:47 | 0:45:50 | |
And it definitely didn't stop him from cheating. | 0:45:50 | 0:45:53 | |
But what the hell? | 0:45:53 | 0:45:56 | |
Mama... > CLATTERING | 0:45:56 | 0:45:59 | |
Brute! Get out! | 0:45:59 | 0:46:01 | |
Come on! Ven aqui. Oh... | 0:46:01 | 0:46:05 | |
Marie! ..Come on. Let's go... Time for your nap. | 0:46:07 | 0:46:14 | |
The other night...I was very drunk. | 0:46:19 | 0:46:22 | |
I know. It's all right. | 0:46:22 | 0:46:24 | |
SHE SIGHS | 0:46:28 | 0:46:30 | |
Diego has never belonged to anybody. | 0:46:32 | 0:46:35 | |
He belongs only to himself. | 0:46:35 | 0:46:37 | |
And that, of course, is what makes him so desirable. | 0:46:37 | 0:46:40 | |
He's the best of friends and the worst of husbands. | 0:46:40 | 0:46:46 | |
Diego will never be anyone's husband. Not really. | 0:46:46 | 0:46:50 | |
We'll see. | 0:46:50 | 0:46:51 | |
You'll know it's over when he gets the next commission out of town. | 0:46:51 | 0:46:55 | |
He'll say he'll send for you, then he never does. | 0:46:55 | 0:46:58 | |
-Senora Rivera?... -Yes? -Yes? | 0:46:58 | 0:47:00 | |
What do you think? | 0:47:46 | 0:47:47 | |
The tits lack...gravity. | 0:47:54 | 0:47:57 | |
Oh, come on! | 0:47:57 | 0:47:59 | |
Eat your posole while it's still hot. | 0:48:02 | 0:48:04 | |
It's not like you to be late for lunch, Diego. | 0:49:06 | 0:49:09 | |
I was at the ministry explaining why a history of the Mexican people | 0:49:09 | 0:49:13 | |
-is an appropriate subject for the Mexican National Palace. -Again? | 0:49:13 | 0:49:17 | |
When I work, they scream about my politics. | 0:49:18 | 0:49:20 | |
When I don't work, they scream about the delays. | 0:49:20 | 0:49:23 | |
It's a farce. | 0:49:23 | 0:49:25 | |
Ugh. Diego! | 0:49:27 | 0:49:29 | |
-That model, huh? -Yes. | 0:49:33 | 0:49:35 | |
It was just a fuck, that's all. | 0:49:39 | 0:49:41 | |
I've given more affection in a handshake. | 0:49:41 | 0:49:44 | |
Well, that makes me feel so much better. | 0:49:47 | 0:49:49 | |
Was she good, at least? | 0:49:53 | 0:49:55 | |
Not very. | 0:49:55 | 0:49:56 | |
Too bad. She had such a great ass. | 0:49:56 | 0:50:00 | |
When you get home, take a good bath. | 0:50:02 | 0:50:04 | |
We're going out tonight. | 0:50:04 | 0:50:06 | |
SHE SINGS IN SPANISH | 0:50:07 | 0:50:10 | |
More tequila! | 0:51:01 | 0:51:03 | |
Rivera! Hey! | 0:51:05 | 0:51:08 | |
Yeah, you. | 0:51:08 | 0:51:10 | |
You know what I think of you and your stinking murals? | 0:51:10 | 0:51:13 | |
HE SPITS | 0:51:13 | 0:51:15 | |
Why don't you get the fuck out of here, huh? | 0:51:15 | 0:51:17 | |
This is a bar for workers, not for government whores. | 0:51:17 | 0:51:20 | |
SHE STARTS TO SING | 0:51:31 | 0:51:34 | |
I tell you, that kid was one of Siqueiros' boys. | 0:51:41 | 0:51:43 | |
Siqueiros is a hero to these fucks, but what's he actually done? Nothing! | 0:51:43 | 0:51:47 | |
I put socialism on the government walls. | 0:51:47 | 0:51:49 | |
The Fascists call me the most dangerous subversive in the country, | 0:51:49 | 0:51:53 | |
-and -I'm -the traitor to the party? | 0:51:53 | 0:51:56 | |
Soon we'll have no-one left to drink with. | 0:51:56 | 0:51:58 | |
-It's not funny. -I'm not kidding. | 0:51:58 | 0:52:00 | |
Tina says they'll kick you out of the party for the Palace mural. | 0:52:00 | 0:52:04 | |
They won't have to. I quit. | 0:52:04 | 0:52:06 | |
So you'll quit and keep on working. | 0:52:06 | 0:52:08 | |
That's all that matters to you any way. | 0:52:08 | 0:52:11 | |
I've been offered a show in New York. | 0:52:11 | 0:52:13 | |
A solo exhibition at the new Modern Museum. | 0:52:14 | 0:52:17 | |
It would be a wonderful entree. | 0:52:17 | 0:52:19 | |
I could get commissions out of it. | 0:52:19 | 0:52:21 | |
I thought you'd be excited. | 0:52:27 | 0:52:30 | |
They don't care that you're a Communist pig? | 0:52:30 | 0:52:33 | |
They can't afford to. | 0:52:33 | 0:52:35 | |
All the greatest painters are Communist pigs. | 0:52:35 | 0:52:38 | |
That's wonderful, Diego. | 0:52:42 | 0:52:45 | |
When do you leave? | 0:52:45 | 0:52:47 | |
As soon as you decide to come with me. | 0:52:49 | 0:52:51 | |
Oh, mi monstrito! We'll take Gringolandia by storm. | 0:52:54 | 0:52:59 | |
'Dear Cristi, the invasion of Gringolandia has begun. | 0:53:02 | 0:53:05 | |
'They are never gonna know what hit them. | 0:53:08 | 0:53:10 | |
'New York has Diego on fire.' | 0:53:10 | 0:53:13 | |
-What's your impression of New York, Mr Rivera? -Magnificent. | 0:53:13 | 0:53:17 | |
There is no reason why any artist born in our two continents | 0:53:17 | 0:53:21 | |
should go to Europe for inspiration. | 0:53:21 | 0:53:23 | |
It is all here... the might, the power, the energy. | 0:53:23 | 0:53:28 | |
The sadness. The glory and youthfulness of our American lands. | 0:53:28 | 0:53:34 | |
'I see the majesty that Diego sees. | 0:53:34 | 0:53:37 | |
'But all that American comfort is a myth. | 0:53:37 | 0:53:39 | |
'While the rich drink their coctelitos, thousands are starving. | 0:53:39 | 0:53:44 | |
'Diego is working almost constantly to prepare for his show, so I have to find ways to entertain myself.' | 0:53:44 | 0:53:51 | |
Aah! Aah! Aah! | 0:53:51 | 0:53:55 | |
Aargh! | 0:53:55 | 0:53:57 | |
SIREN SOUNDS | 0:54:04 | 0:54:06 | |
Grrr! Grrr! | 0:54:10 | 0:54:13 | |
SHE SCREAMS | 0:54:13 | 0:54:16 | |
Breaking all records, over 50,000 people have lined up outside | 0:54:16 | 0:54:20 | |
New York's new Museum of Modern Art | 0:54:20 | 0:54:22 | |
to see the paintings of Mexico's greatest artist, Diego Rivera, | 0:54:22 | 0:54:27 | |
the most talked about man this side of the Rio Grande. | 0:54:27 | 0:54:30 | |
Senor Diego Rivera! CHEERING AND APPLAUSE | 0:54:33 | 0:54:37 | |
'The gringos are friendly enough, but the most important thing in | 0:54:37 | 0:54:41 | |
'Gringolandia is to have ambition, to succeed in becoming somebody. | 0:54:41 | 0:54:45 | |
'And the somebodies are the only ones that interest them. | 0:54:45 | 0:54:48 | |
'I despise this pretension. | 0:54:48 | 0:54:50 | |
'Being la gran caca interests me not at all. | 0:54:50 | 0:54:53 | |
'Of course, Diego loves it. | 0:54:53 | 0:54:56 | |
'He's like a big Mexican pinata with enough candy for everyone. | 0:54:56 | 0:55:01 | |
'Everything about this country inspires him.' | 0:55:01 | 0:55:04 | |
Two loose eggs, hot cinnamon bun, two black coffees. Anything else? | 0:55:21 | 0:55:26 | |
That's fine. Thank you. | 0:55:26 | 0:55:27 | |
OK. Are you guys ready? Hmm? | 0:55:29 | 0:55:31 | |
Well, I never thought I'd hear myself say this, | 0:55:35 | 0:55:39 | |
but you were | 0:55:39 | 0:55:41 | |
better than your husband. | 0:55:41 | 0:55:43 | |
You weren't upset about that, were you? | 0:55:47 | 0:55:49 | |
I mean he... he said you wouldn't be. | 0:55:52 | 0:55:55 | |
Oh, he did, did he? | 0:55:55 | 0:55:58 | |
Well, you weren't the first, and you won't be the last. | 0:55:58 | 0:56:01 | |
Why do you put up with it? | 0:56:05 | 0:56:07 | |
Look, Diego's how he is, and that's how I love him. | 0:56:09 | 0:56:13 | |
I cannot love him for what he's not. | 0:56:13 | 0:56:16 | |
Anyway, my sweet Gracie, | 0:56:17 | 0:56:22 | |
I get along just fine. | 0:56:22 | 0:56:24 | |
-Congratulations. -Thank you. | 0:56:30 | 0:56:32 | |
-Over here. -Can we get your picture? -Mr Rivera... | 0:56:32 | 0:56:35 | |
-That's a lot of wall. -It's all there is. | 0:56:35 | 0:56:38 | |
Please. Please, I have to get back to work. I'm sorry. | 0:56:45 | 0:56:48 | |
Are you a painter too, Mrs Rivera? | 0:56:52 | 0:56:55 | |
No. Just killing time. | 0:56:55 | 0:56:58 | |
She's much better than me. | 0:56:58 | 0:57:01 | |
You'll see. | 0:57:01 | 0:57:03 | |
What did the doctor say? | 0:57:14 | 0:57:16 | |
He might be able to improve the pain, but the bones would have to be reset. Blah, blah, blah. | 0:57:18 | 0:57:23 | |
Blah, blah, blah. The usual speech. I know it by heart. | 0:57:23 | 0:57:26 | |
(I'm pregnant.) | 0:57:28 | 0:57:30 | |
Oh. | 0:57:34 | 0:57:35 | |
Can your body take it? | 0:57:38 | 0:57:40 | |
-If it can take you, it can take a little Dieguito. -No, no, Frida. | 0:57:40 | 0:57:44 | |
He's not very optimistic. | 0:57:44 | 0:57:46 | |
This is not... | 0:57:48 | 0:57:50 | |
SHE SIGHS | 0:57:50 | 0:57:51 | |
I can't bear to think of you in pain. | 0:57:51 | 0:57:54 | |
I'm used to pain. | 0:57:54 | 0:57:55 | |
This is not... | 0:57:57 | 0:58:00 | |
I'm not a good example of... | 0:58:00 | 0:58:02 | |
It's not a good time. | 0:58:03 | 0:58:06 | |
There's the Rockefeller commission. | 0:58:06 | 0:58:08 | |
Detroit. Chicago. All that travelling. | 0:58:08 | 0:58:11 | |
No, it's too much. | 0:58:11 | 0:58:13 | |
You really want this baby, Frida? | 0:58:19 | 0:58:22 | |
-I do. -All right. | 0:58:25 | 0:58:28 | |
-All right? -All right, let's try and have this baby. | 0:58:30 | 0:58:33 | |
Shh, shh, shh. | 0:58:37 | 0:58:39 | |
Listen, listen. | 0:58:39 | 0:58:41 | |
Hmm. | 0:58:43 | 0:58:45 | |
He's reciting The Communist Manifesto. | 0:58:45 | 0:58:47 | |
GROANING | 0:59:09 | 0:59:14 | |
Hoy! | 0:59:14 | 0:59:15 | |
-She's lost a lot of blood. -I want to see her! | 0:59:32 | 0:59:35 | |
She needs to sleep. You should go home and try and get some rest. | 0:59:35 | 0:59:38 | |
-Frida! -You should be in bed, Mrs Rivera. | 0:59:38 | 0:59:42 | |
-The baby came out in pieces. -Come with me. Let's go back to bed. | 0:59:42 | 0:59:45 | |
It never formed properly. | 0:59:45 | 0:59:47 | |
-We can try again, but you must rest... -Mrs Rivera... -But he's my son. -Mrs Rivera. | 0:59:47 | 0:59:51 | |
I want to see him! | 0:59:51 | 0:59:53 | |
What did you do with him?! | 0:59:53 | 0:59:55 | |
I want to see my son! | 0:59:55 | 0:59:57 | |
-Mr Rivera, please... -Hey! -What did you do with him?! | 0:59:57 | 1:00:00 | |
All right, chiquita, I'll take care of it. | 1:00:00 | 1:00:02 | |
-Diego... -I promise. | 1:00:06 | 1:00:08 | |
I promise. | 1:00:08 | 1:00:09 | |
HE SOBS | 1:00:55 | 1:00:58 | |
-What the hell is this? -Breakfast. | 1:01:37 | 1:01:40 | |
You trying to kill me? | 1:01:40 | 1:01:42 | |
-I need fuel to work. -Listen, panzon, if you get any fatter, it's going to be you in the hospital next time. | 1:01:42 | 1:01:48 | |
You know, I don't believe in God, | 1:01:48 | 1:01:50 | |
but I still thank him every day that he kept you safe for me. | 1:01:50 | 1:01:53 | |
Hmm, really? | 1:01:53 | 1:01:55 | |
I tell him he's got a lot of explaining to do. | 1:01:55 | 1:01:58 | |
DIEGO LAUGHS | 1:01:58 | 1:01:59 | |
From now on, I'm going to get Rockefeller to bring my breakfast over from 21. | 1:01:59 | 1:02:03 | |
Uh-oh. | 1:02:03 | 1:02:05 | |
Frida? | 1:02:07 | 1:02:09 | |
WOMEN PRAY QUIETLY | 1:02:12 | 1:02:15 | |
Frida. You are here. | 1:02:18 | 1:02:21 | |
THEY PRAY QUIETLY | 1:02:31 | 1:02:33 | |
I left him. | 1:02:41 | 1:02:42 | |
And that was his parting gift? | 1:02:44 | 1:02:46 | |
I should have been there for you. | 1:02:49 | 1:02:51 | |
You're here now. | 1:02:56 | 1:02:58 | |
She'll throw a fit if I let her damn plants die. | 1:03:10 | 1:03:13 | |
We fought so much. Sometimes I... | 1:03:16 | 1:03:20 | |
sometimes I would regret that I ever married her. | 1:03:20 | 1:03:23 | |
I would think how I hated her. | 1:03:25 | 1:03:26 | |
You do enough damage to one another, you begin to think that way. | 1:03:29 | 1:03:34 | |
Well, then she gets sick and... | 1:03:34 | 1:03:37 | |
I tend her garden. | 1:03:37 | 1:03:38 | |
THEY PRAY | 1:03:52 | 1:03:55 | |
MOB CRIES OUT ANGRILY | 1:04:16 | 1:04:18 | |
You'd seen my work. You knew my politics when you hired me. | 1:04:19 | 1:04:23 | |
-Yes. -I showed you the sketches. | 1:04:23 | 1:04:24 | |
-I discussed them with you and your father. -Yes. | 1:04:24 | 1:04:27 | |
What were you expecting? A line of dancing girls? | 1:04:27 | 1:04:29 | |
No, but nor was I expecting a portrait of Lenin. | 1:04:29 | 1:04:33 | |
Now, let's be honest. In the sketches that you showed me originally, it was just some anonymous worker. | 1:04:33 | 1:04:38 | |
He transformed himself into Lenin of his own accord. | 1:04:38 | 1:04:41 | |
-No, -you -transformed him into Lenin because they took shots at us in the paper! | 1:04:41 | 1:04:45 | |
Do you really think that my family is influenced by newspaper hacks? | 1:04:45 | 1:04:50 | |
I would've defended you. | 1:04:50 | 1:04:52 | |
I will defend you against any attack because the work is thrilling. | 1:04:52 | 1:04:56 | |
As always. | 1:04:56 | 1:04:59 | |
But a portrait of Vladimir Lenin will offend many people, | 1:04:59 | 1:05:04 | |
in particular, my father. | 1:05:04 | 1:05:06 | |
You see, you're putting me in an impossible position. | 1:05:06 | 1:05:10 | |
So I'm asking you to please change this one detail. | 1:05:10 | 1:05:13 | |
It's against my principles. | 1:05:15 | 1:05:17 | |
Yes, well, you've adjusted your principles to come to our parties and eat at our table, | 1:05:18 | 1:05:23 | |
so I hope you will reconsider. | 1:05:23 | 1:05:25 | |
MOB CRIES OUT | 1:05:26 | 1:05:29 | |
You've got quite a crowd out there. Half of them think you're the devil. | 1:05:32 | 1:05:36 | |
Half of them think you're a hero. | 1:05:38 | 1:05:40 | |
Tell me honestly what you think. | 1:05:40 | 1:05:43 | |
-If you lie down with dogs, you should expect fleas. -No, seriously. | 1:05:43 | 1:05:47 | |
-This is really frightening me. -Why? | 1:05:47 | 1:05:50 | |
Because I'm actually wondering if he's right. | 1:05:50 | 1:05:53 | |
Perhaps I am being foolish, | 1:05:53 | 1:05:55 | |
-risking too much. -Diego, you can't lose. | 1:05:55 | 1:05:59 | |
Forget about artistic integrity. | 1:05:59 | 1:06:00 | |
You've done better ones than this, and you'll do more. | 1:06:00 | 1:06:03 | |
But whatever happens, you have aroused people. | 1:06:03 | 1:06:06 | |
You've made them get passionate about their ideals. | 1:06:06 | 1:06:09 | |
There's not another painter in the world who can say that. | 1:06:09 | 1:06:12 | |
He could walk in here tomorrow and tear it down. You'd still have won. | 1:06:13 | 1:06:17 | |
Ah, maybe. | 1:06:17 | 1:06:20 | |
He doesn't have the balls. | 1:06:20 | 1:06:22 | |
MOB OUTSIDE CRIES OUT | 1:06:24 | 1:06:26 | |
(Diego!) | 1:06:27 | 1:06:28 | |
Senor Rivera. I must ask you one last time to reconsider your position. | 1:06:39 | 1:06:44 | |
I will not compromise my vision. | 1:06:47 | 1:06:49 | |
In that case, this is your fee, | 1:06:53 | 1:06:56 | |
paid in full, as agreed. | 1:06:56 | 1:06:59 | |
But your services are no longer required. | 1:06:59 | 1:07:01 | |
-It's my painting! -On my wall. | 1:07:01 | 1:07:03 | |
It's the people's wall! You bastard! | 1:07:03 | 1:07:07 | |
DOOR SLAMS | 1:07:12 | 1:07:13 | |
DRILLING | 1:07:24 | 1:07:26 | |
SPLASH! | 1:07:43 | 1:07:44 | |
FRONT DOOR OPENS | 1:07:49 | 1:07:52 | |
Diego, let's go home. | 1:08:00 | 1:08:02 | |
Frida, we have to fight these bastards. | 1:08:02 | 1:08:04 | |
They tore down the wall, but the painting is up here. | 1:08:04 | 1:08:07 | |
I'll do it again, and I'll use his money! | 1:08:07 | 1:08:09 | |
-What money? We don't even have enough to get to Chicago. -We're not going to Chicago. | 1:08:09 | 1:08:13 | |
They cancelled the commission. | 1:08:13 | 1:08:14 | |
It's time to go home. | 1:08:16 | 1:08:18 | |
What?! With my tail between my legs? | 1:08:18 | 1:08:21 | |
We don't belong here. I am tired of these people, and I am tired of who you are around them. | 1:08:21 | 1:08:25 | |
See that?! Hmm? | 1:08:27 | 1:08:28 | |
You want to go back to that?! | 1:08:28 | 1:08:30 | |
Yes! I want to go back to that! | 1:08:34 | 1:08:36 | |
Ahh. | 1:09:06 | 1:09:07 | |
-I'm working. -I can see that. | 1:09:20 | 1:09:23 | |
I brought you some lunch. | 1:09:23 | 1:09:25 | |
The doctor says you should eat more, for once. | 1:09:25 | 1:09:28 | |
Puta madre! | 1:09:33 | 1:09:35 | |
Diego. | 1:09:37 | 1:09:38 | |
All right, that's enough. | 1:09:41 | 1:09:43 | |
Diego! | 1:09:44 | 1:09:45 | |
Diego, stop! | 1:09:48 | 1:09:49 | |
IT WHIMPERS | 1:09:53 | 1:09:54 | |
Lord Xolotl, prince of darkness. | 1:09:57 | 1:10:01 | |
You're the best art critic there is. | 1:10:03 | 1:10:05 | |
Only you see what shit this country has made of me. | 1:10:07 | 1:10:11 | |
Diego. | 1:10:12 | 1:10:14 | |
You need help. | 1:10:14 | 1:10:16 | |
Frida, why do you and Diego have separate houses? | 1:10:23 | 1:10:26 | |
Because we are two different people, but our love makes us into one. | 1:10:26 | 1:10:30 | |
That's why we have the bridge. | 1:10:30 | 1:10:32 | |
So, you mean, the bridge is your love? | 1:10:32 | 1:10:36 | |
Yeah. That's a good way to put it. | 1:10:36 | 1:10:38 | |
Then why is it such a small bridge? | 1:10:38 | 1:10:41 | |
He's not working. He's sick. | 1:10:43 | 1:10:46 | |
He's depressed. | 1:10:46 | 1:10:48 | |
He says the people in this country are like mules, they're so stupid. | 1:10:48 | 1:10:51 | |
And he blames it all on me for making him come back. | 1:10:51 | 1:10:54 | |
That's ridiculous. | 1:10:54 | 1:10:56 | |
Still, you are lucky to have him. | 1:10:56 | 1:11:00 | |
I feel so desperate every day. | 1:11:00 | 1:11:03 | |
Sometimes I even think of going back. | 1:11:03 | 1:11:06 | |
Well, you're not. | 1:11:06 | 1:11:08 | |
What about a job? | 1:11:12 | 1:11:13 | |
-You could help me out organizing Diego's studio. -Where do I start? | 1:11:13 | 1:11:16 | |
-Don't touch anything. -Diego. | 1:11:16 | 1:11:19 | |
Don't worry. (He's a pussycat.) | 1:11:23 | 1:11:25 | |
LIVELY FIESTA MUSIC PLAYS | 1:11:34 | 1:11:36 | |
-Grrr! Aaar! -CHILDREN GIGGLE | 1:11:59 | 1:12:01 | |
Shh! | 1:12:01 | 1:12:03 | |
Aaar! | 1:12:03 | 1:12:05 | |
SHE GASPS | 1:12:12 | 1:12:13 | |
Go downstairs and play. Now! | 1:12:14 | 1:12:16 | |
-Now! -Oh, my God. | 1:12:16 | 1:12:19 | |
Ay! | 1:12:20 | 1:12:21 | |
My goddamn sister! You're an animal! | 1:12:28 | 1:12:32 | |
-Hijo de puta! -Frida, Frida. -Get out! Get out! | 1:12:35 | 1:12:40 | |
Frida. Frida! | 1:13:02 | 1:13:05 | |
I'm a beast. Yes. | 1:13:07 | 1:13:09 | |
I-I-I'm an idiot, but it meant nothing, Frida, nothing. | 1:13:09 | 1:13:13 | |
Frida, talk to me! | 1:13:17 | 1:13:19 | |
There have been two big accidents in my life, Diego, the trolley and you. | 1:13:29 | 1:13:35 | |
You are by far the worst. | 1:13:35 | 1:13:38 | |
# Ya me canso de llorar | 1:13:46 | 1:13:50 | |
# Y no amanece | 1:13:50 | 1:13:52 | |
# Ya no se si maldecirte | 1:13:54 | 1:13:58 | |
# O por ti rezar | 1:13:58 | 1:14:01 | |
# Tengo miedo | 1:14:03 | 1:14:05 | |
# De buscarte y de encontrarte | 1:14:05 | 1:14:10 | |
# Donde me aseguran | 1:14:13 | 1:14:17 | |
# Mis amigos | 1:14:17 | 1:14:19 | |
# Que te vas | 1:14:19 | 1:14:22 | |
# Y agarraste por tu cuenta | 1:14:24 | 1:14:29 | |
# La parranda | 1:14:29 | 1:14:33 | |
# Paloma negra | 1:14:36 | 1:14:39 | |
# Paloma negra... # | 1:14:39 | 1:14:41 | |
MUSIC CONTINUES | 1:14:41 | 1:14:44 | |
Get out! | 1:15:07 | 1:15:08 | |
Out! Out! Go! | 1:15:10 | 1:15:13 | |
It's a limp up three flights of stairs, I can't afford any furniture, and it's cold at night. | 1:15:41 | 1:15:47 | |
But at least I know who's fucking who in my own house. | 1:15:47 | 1:15:51 | |
Diego's not giving you any money? | 1:15:51 | 1:15:52 | |
I'd rather be poor. | 1:15:52 | 1:15:56 | |
She was my sister, | 1:15:56 | 1:15:58 | |
not some model. | 1:15:58 | 1:16:00 | |
My own sister. | 1:16:00 | 1:16:01 | |
-To hell with him. -To hell with him. | 1:16:02 | 1:16:06 | |
Find some work. Pay your own bills for a while. | 1:16:06 | 1:16:10 | |
-I'll sell some paintings. -Not enough to cover your bar bill. | 1:16:10 | 1:16:14 | |
No, don't get me wrong. I love your paintings. | 1:16:15 | 1:16:17 | |
I'm just not sure you should count on them for a living. | 1:16:17 | 1:16:21 | |
They're tough, you know. | 1:16:21 | 1:16:23 | |
I mean, look at this. What the hell is this? | 1:16:23 | 1:16:28 | |
It was in the damn papers. | 1:16:28 | 1:16:32 | |
A man stabbed his wife 22 times, and when the judge asked him why | 1:16:32 | 1:16:36 | |
he did it, he said, "But it was just a few small nips." | 1:16:36 | 1:16:39 | |
Oh. | 1:16:43 | 1:16:45 | |
-Who's that? -The ghost of Frida Kahlo. | 1:16:59 | 1:17:03 | |
Oh, I remember her. | 1:17:03 | 1:17:06 | |
How are you? | 1:17:06 | 1:17:08 | |
Lonely. | 1:17:08 | 1:17:09 | |
Only you ghosts come to visit these days. | 1:17:09 | 1:17:13 | |
So, how is your Diego? | 1:17:14 | 1:17:17 | |
I don't know why I called him that. | 1:17:19 | 1:17:22 | |
He was never mine. Never will be. | 1:17:22 | 1:17:25 | |
But he's fine. Painting, I guess. | 1:17:25 | 1:17:27 | |
-And you? Are you also painting? -Yes. | 1:17:27 | 1:17:30 | |
And I want you to pose for me. You don't even have to leave the house. | 1:17:30 | 1:17:33 | |
I want to leave the house. | 1:17:33 | 1:17:35 | |
All right, then. We'll go somewhere different every day. | 1:17:35 | 1:17:39 | |
That sounds good. You've painted everyone else in the family. | 1:17:39 | 1:17:42 | |
Yes. | 1:17:43 | 1:17:45 | |
A long time ago. | 1:17:45 | 1:17:46 | |
SHE SIGHS | 1:17:49 | 1:17:51 | |
Remind me what I wanted then. | 1:17:51 | 1:17:53 | |
You wanted to be your own person. | 1:17:55 | 1:17:57 | |
THEY SING IN SPANISH | 1:18:00 | 1:18:04 | |
Frida. | 1:18:28 | 1:18:29 | |
She never liked you, you know. | 1:18:34 | 1:18:37 | |
She told me you would only bring me troubles. | 1:18:37 | 1:18:40 | |
There is something I must discuss with you. | 1:18:48 | 1:18:50 | |
A favour I need to ask of you. | 1:18:53 | 1:18:55 | |
You've got a lot of nerve to come here asking me to do you favours. | 1:18:58 | 1:19:02 | |
No, it's not for me. It's Trotsky. | 1:19:02 | 1:19:04 | |
The Norwegians have expelled him, no other country will take him, and Stalin wants him dead. | 1:19:04 | 1:19:09 | |
I have appealed to President Cardenas myself. | 1:19:09 | 1:19:12 | |
They have granted him asylum here in Mexico. | 1:19:12 | 1:19:15 | |
I want you to welcome him with me. | 1:19:17 | 1:19:20 | |
Let him live in your father's house. | 1:19:20 | 1:19:23 | |
I know it's a lot to ask, but this is a difficult transition for them. | 1:19:23 | 1:19:27 | |
And you, Frida... | 1:19:28 | 1:19:30 | |
..you bring life and warmth to any place. | 1:19:32 | 1:19:37 | |
Anyway... | 1:19:37 | 1:19:39 | |
Trotsky is a very great man in enormous danger, and we have the opportunity to help him. | 1:19:39 | 1:19:45 | |
Yes, all right. | 1:19:48 | 1:19:50 | |
Such commotion. | 1:19:57 | 1:19:58 | |
I don't understand, such a commotion for a philosopher. | 1:19:58 | 1:20:02 | |
A very great man, Papa. A true revolutionary. | 1:20:02 | 1:20:06 | |
It's an important service we're doing. | 1:20:06 | 1:20:08 | |
If you admire him, why don't you advise him not to get involved in politics? | 1:20:08 | 1:20:11 | |
Politics are ruinous. | 1:20:11 | 1:20:14 | |
Good advice, Papa. I'm sure he'll agree. | 1:20:14 | 1:20:16 | |
I regret it was not possible for me to meet you at your boat. | 1:20:39 | 1:20:43 | |
Natalia and I, we are deeply indebted to you for your generosity in these difficult times. | 1:20:43 | 1:20:49 | |
Your charming wife, she has made the last leg of our trip such a delight. | 1:20:49 | 1:20:54 | |
We are profoundly honoured to have you and your wife in our home. | 1:20:54 | 1:20:59 | |
Ay, Diego, they're starving. | 1:20:59 | 1:21:01 | |
-Let's feed them. -TROTSKY SPEAKS RUSSIAN | 1:21:01 | 1:21:04 | |
Thank you. | 1:21:05 | 1:21:07 | |
-LAUGHTER -No, it's true! | 1:21:10 | 1:21:12 | |
It's true! I could not believe it! | 1:21:12 | 1:21:14 | |
These people are idiots! They scream about Hitler's aggression, | 1:21:14 | 1:21:18 | |
and then sing Stalin's praises. Aren't they the same creature? | 1:21:18 | 1:21:22 | |
Yes, but not exactly. Of course they are both monsters, | 1:21:22 | 1:21:26 | |
-but Hitler at least is a madman with a vision. -Vision? He's insane! | 1:21:26 | 1:21:30 | |
Of course he is insane, but he has the ability | 1:21:30 | 1:21:33 | |
to mobilise the people's minds, whereas Stalin, he's... | 1:21:33 | 1:21:37 | |
he is so dull. LAUGHTER | 1:21:37 | 1:21:40 | |
There is the brutality, but when you get right down to it, | 1:21:41 | 1:21:44 | |
Stalin is nothing but a bureaucrat, | 1:21:44 | 1:21:47 | |
and that is what is smothering our revolution. | 1:21:47 | 1:21:51 | |
They are the same, but only in that the insanity of power has overruled them. | 1:21:51 | 1:21:56 | |
And between them, they will consume the continent. | 1:21:56 | 1:21:59 | |
-Madness. -Yes, but a challenge. | 1:21:59 | 1:22:04 | |
Look at us! | 1:22:04 | 1:22:05 | |
Mexican, Russian, French, in this wonderful new planet Rivera! | 1:22:05 | 1:22:10 | |
I tell you this, my friends, in the experience of my lifetime, | 1:22:14 | 1:22:19 | |
the failure and the pain have certainly outstripped the triumphs. | 1:22:19 | 1:22:24 | |
But this has not only not destroyed my faith, my faith in reason, | 1:22:24 | 1:22:28 | |
in truth, in human solidarity, but, on the contrary, | 1:22:28 | 1:22:32 | |
it has made it indestructible. | 1:22:32 | 1:22:35 | |
I see the hope of the world in you, and, from my heart, I thank you. | 1:22:35 | 1:22:41 | |
-Na zdorov'ya!. -Na zdorov'ya! -Salud! -Salud! | 1:22:41 | 1:22:45 | |
Imagine living your life like that, | 1:22:45 | 1:22:47 | |
-with a price on your head, and staying so calm. -Yes. | 1:22:47 | 1:22:53 | |
Good night, Diego. | 1:22:55 | 1:22:57 | |
Whoo! | 1:23:42 | 1:23:44 | |
Oh, stop it, Andre. | 1:23:46 | 1:23:48 | |
-I hate flattery. -I don't care. It is wonderful, wonderful work. | 1:23:48 | 1:23:52 | |
-Have you seen all these? -Of course. I tell her all the time. | 1:23:52 | 1:23:55 | |
Julian Levy took a couple of her paintings to New York, | 1:23:55 | 1:23:58 | |
and sold both of them, | 1:23:58 | 1:23:59 | |
and she sold another four to that actor, the gangster. | 1:23:59 | 1:24:02 | |
-Edward G. Robinson. -Yeah, for 200 apiece. | 1:24:02 | 1:24:05 | |
He was robbed. We haven't been able to fool anyone else. | 1:24:05 | 1:24:09 | |
My little paintings can't mean anything to anyone but me. | 1:24:09 | 1:24:12 | |
Stop! Get down! They put a bag by the door! Get back! | 1:24:12 | 1:24:16 | |
-Let's get inside. -Get back! -Inside, quickly. | 1:24:16 | 1:24:19 | |
-Cover him! Hurry! -Inside! | 1:24:19 | 1:24:20 | |
Frida! Frida, what are you doing? | 1:24:20 | 1:24:23 | |
I give you five seconds to get out of here. | 1:24:25 | 1:24:28 | |
One, two... | 1:24:28 | 1:24:30 | |
GUN FIRES, WOMEN SCREAM | 1:24:30 | 1:24:34 | |
It's all right. It's all right. Sorry about that. | 1:24:34 | 1:24:39 | |
-It was my mother's sisters. -What do you mean? | 1:24:39 | 1:24:41 | |
They were leaving icons, and sprinkling holy water. | 1:24:41 | 1:24:44 | |
They think this house is cursed, and you are the Antichrist. | 1:24:44 | 1:24:47 | |
I want you to think about it seriously. | 1:25:15 | 1:25:18 | |
You could be part of the Mexican exhibition in Paris. | 1:25:18 | 1:25:21 | |
What I really want is a show in my own country. | 1:25:21 | 1:25:23 | |
Which they will give you, once you become famous somewhere else. | 1:25:23 | 1:25:27 | |
Your paintings should be seen. | 1:25:27 | 1:25:29 | |
-So, who is coming up with me? -It's harder than you think. | 1:25:29 | 1:25:33 | |
-Ah, everything is harder than we think. -I'll go! -Are you sure? | 1:25:33 | 1:25:37 | |
If an old man can do it, why not a cripple? | 1:25:37 | 1:25:41 | |
No, no, no, no. | 1:25:45 | 1:25:47 | |
-It's OK. I don't think assassins are waiting at the top. -I'll race you. | 1:25:47 | 1:25:52 | |
Frida, how were you hurt? | 1:26:15 | 1:26:20 | |
I couldn't even tell you any more. | 1:26:22 | 1:26:24 | |
I've been cut into, rebroke, and reset so many times. | 1:26:24 | 1:26:28 | |
I'm like a jigsaw puzzle. | 1:26:28 | 1:26:30 | |
And all the operations have done more damage than the accident, for all I know. | 1:26:30 | 1:26:35 | |
Everything hurts. | 1:26:35 | 1:26:37 | |
But the leg, the leg is the worst. | 1:26:37 | 1:26:41 | |
But I'm all right. | 1:26:49 | 1:26:51 | |
At the end of the day, we can endure much more than we think we can. | 1:26:51 | 1:26:55 | |
That's what I loved about your paintings, | 1:26:58 | 1:27:01 | |
that they carry that message. | 1:27:01 | 1:27:03 | |
You said that nobody would care about them, but I think you are wrong, | 1:27:03 | 1:27:07 | |
because your paintings express what everyone feels... | 1:27:07 | 1:27:10 | |
..that they are alone in pain. | 1:27:12 | 1:27:15 | |
Maybe. | 1:27:15 | 1:27:16 | |
Leon, tell me about your children. | 1:27:19 | 1:27:22 | |
My children. | 1:27:23 | 1:27:26 | |
We knew the girls had been murdered, and one of the boys. | 1:27:26 | 1:27:30 | |
We thought the other was still alive in the prison. | 1:27:30 | 1:27:34 | |
But that letter came. | 1:27:34 | 1:27:35 | |
He was executed, too. They are all gone. | 1:27:35 | 1:27:39 | |
I have condemned my family, as I am condemned. | 1:27:40 | 1:27:45 | |
-You mustn't say that. -But it's true. | 1:27:45 | 1:27:48 | |
Stalin has more power than any tsar. | 1:27:48 | 1:27:51 | |
I'm alone, with few friends, | 1:27:51 | 1:27:53 | |
and no resources against the world's biggest killing machine. | 1:27:53 | 1:27:58 | |
So, what can I do, but keep on working, living. | 1:27:59 | 1:28:04 | |
You cannot imagine what a joy it is for me to be here, | 1:28:04 | 1:28:09 | |
to see all this. | 1:28:09 | 1:28:11 | |
It is the first time I felt like a real person in years. | 1:28:11 | 1:28:16 | |
In his book, "State and Revolution", | 1:29:27 | 1:29:31 | |
Lenin purged from the genuine teaching of Karl Marx | 1:29:31 | 1:29:35 | |
all the spurious ingredients introduced by the social democracy. | 1:29:35 | 1:29:41 | |
John, I am picking it up from "social democracy". | 1:30:15 | 1:30:17 | |
Frida! | 1:30:23 | 1:30:25 | |
-This is the book I mentioned. Tell me what you think. -Thank you. | 1:30:28 | 1:30:34 | |
I'll be back in an hour! | 1:30:36 | 1:30:38 | |
< TROTSKYS ARGUE IN RUSSIAN | 1:30:50 | 1:30:57 | |
No, no, no, no, no. It is better this way. | 1:31:12 | 1:31:14 | |
We will stop disrupting your lives. | 1:31:14 | 1:31:18 | |
We're not going far, just around the corner. | 1:31:18 | 1:31:21 | |
I wish you would reconsider, if only for security. | 1:31:21 | 1:31:24 | |
We will be more than safe. | 1:31:24 | 1:31:27 | |
-Trust me. -Do svidaniya. | 1:31:27 | 1:31:30 | |
Many thanks, my friend. | 1:31:30 | 1:31:31 | |
We'll see you soon. | 1:31:36 | 1:31:39 | |
Natalia. | 1:31:39 | 1:31:40 | |
It makes no sense. It was for his own well-being. | 1:32:05 | 1:32:08 | |
He's not thinking of his well-being. He's thinking of hers. | 1:32:08 | 1:32:11 | |
What are you talking about? | 1:32:13 | 1:32:14 | |
I'm talking about somebody willing to sacrifice some of their own pleasure, | 1:32:19 | 1:32:23 | |
rather than go on hurting the woman who loves him. | 1:32:23 | 1:32:26 | |
-Have you lost your mind? -Go to hell, Diego. | 1:32:30 | 1:32:32 | |
You know what the consequences of this could be? | 1:32:32 | 1:32:35 | |
-He's not scared. Why should you be? -Dear God, Frida, of all people, why? | 1:32:35 | 1:32:39 | |
Because we wanted to. | 1:32:39 | 1:32:42 | |
You've broken my heart, Frida. | 1:32:46 | 1:32:48 | |
It hurts, doesn't it? | 1:32:52 | 1:32:54 | |
But why? | 1:32:54 | 1:32:56 | |
It was just a fuck, like a handshake. | 1:32:56 | 1:32:58 | |
I told you who I was when you married me. | 1:32:58 | 1:33:00 | |
Yes, you did, and I married you anyway, | 1:33:00 | 1:33:04 | |
and you promised to be loyal. | 1:33:04 | 1:33:06 | |
You've been my comrade, my fellow artist, my best friend. | 1:33:08 | 1:33:14 | |
-But you've never been my husband. -Fridocha... | 1:33:16 | 1:33:19 | |
'Dear Diego, how are you, panzon?' | 1:33:50 | 1:33:53 | |
'Why didn't you tell me Paris was such a nightmare?' | 1:33:54 | 1:33:57 | |
SHE SINGS IN FRENCH | 1:33:57 | 1:34:00 | |
'The French are the most pretentious bores in the world.' | 1:34:06 | 1:34:09 | |
'I'd rather sit on the floor of a market in Toluca, selling tortillas, | 1:34:09 | 1:34:13 | |
'than have to listen to the prattling of the artistic bitches of Paris.' | 1:34:13 | 1:34:18 | |
'There really hasn't been as much interest in the exhibition as Breton promised.' | 1:34:51 | 1:34:55 | |
'Mexican artists are nothing but an exotic curiosity here.' | 1:34:58 | 1:35:03 | |
'All in all, it's been lonely, and I crave news from home.' | 1:35:04 | 1:35:09 | |
'Diego, this letter is a lie.' | 1:35:11 | 1:35:15 | |
'Paris has been good to me.' | 1:35:15 | 1:35:16 | |
'But without you, it means nothing.' | 1:35:16 | 1:35:19 | |
'All the rage of our 12 years together passes through me, | 1:35:19 | 1:35:23 | |
'and I am left knowing that I love you more than my own skin.' | 1:35:23 | 1:35:26 | |
'And though you may not love me as much, you do love me a little, don't you?' | 1:35:26 | 1:35:31 | |
'If this is not true, I'll always be hopeful that it could be.' | 1:35:31 | 1:35:35 | |
'I adore you. Frida.' | 1:35:37 | 1:35:40 | |
< SCREAMS AND COMMOTION | 1:35:57 | 1:36:00 | |
There are rumours going around that I wanted Trotsky killed. | 1:36:13 | 1:36:17 | |
We fought lately, it's true, but... | 1:36:17 | 1:36:19 | |
They may try to arrest me again. | 1:36:21 | 1:36:24 | |
-Talk to the president. -No. No, I'm going to California. | 1:36:24 | 1:36:29 | |
-California? -Yes. | 1:36:29 | 1:36:31 | |
And, Frida... | 1:36:34 | 1:36:37 | |
I want us to divorce. | 1:36:37 | 1:36:39 | |
For who? That American actress? | 1:36:43 | 1:36:46 | |
-Jesus, Diego. -No, Frida, no. | 1:36:46 | 1:36:49 | |
It will be better. We have both done better as friends. | 1:36:49 | 1:36:52 | |
-I haven't. -You have. | 1:36:52 | 1:36:54 | |
-You're doing well. I'm proud of you. You don't need... -Enough. | 1:36:54 | 1:36:57 | |
If you want to go, just go. | 1:36:57 | 1:36:59 | |
WOMAN SINGS IN SPANISH | 1:37:29 | 1:37:32 | |
SHE SINGS IN SPANISH | 1:37:43 | 1:37:46 | |
KNOCK AT DOOR | 1:39:34 | 1:39:36 | |
Listen to me. | 1:39:36 | 1:39:37 | |
I don't particularly care for Mr. Trotsky, | 1:39:37 | 1:39:40 | |
but we can't go around having political refugees murdered in our country, now, can we? | 1:39:40 | 1:39:46 | |
Once more. | 1:39:51 | 1:39:52 | |
Where is your husband? | 1:39:52 | 1:39:55 | |
I don't have a husband. | 1:39:55 | 1:39:56 | |
Frida? | 1:40:06 | 1:40:07 | |
Oh, my God. | 1:40:11 | 1:40:12 | |
Cristi... | 1:40:16 | 1:40:18 | |
I'm so sorry. | 1:40:22 | 1:40:23 | |
It was not your fault. | 1:40:31 | 1:40:32 | |
It was mine. | 1:40:32 | 1:40:33 | |
I should have never put you in the room with him. | 1:40:35 | 1:40:38 | |
What did you do to get me out of here? | 1:40:41 | 1:40:44 | |
Diego. He went crazy when he heard. | 1:40:44 | 1:40:47 | |
He called President Cardenas immediately. | 1:40:47 | 1:40:50 | |
Ay...Diego. | 1:40:51 | 1:40:54 | |
Not much more. | 1:41:03 | 1:41:04 | |
How long has your foot been like this? | 1:41:20 | 1:41:23 | |
Who knows? Let's take one disaster at a time. | 1:41:23 | 1:41:25 | |
Just patch me up so I can paint, please. | 1:41:25 | 1:41:28 | |
These are gangrened. They'll have to come off. | 1:41:28 | 1:41:31 | |
You're lucky it hasn't spread to your leg. | 1:41:31 | 1:41:35 | |
You've lost weight. | 1:42:38 | 1:42:40 | |
You've lost your toes. | 1:42:42 | 1:42:44 | |
Is that why you're here? | 1:42:46 | 1:42:47 | |
To offer your condolences? | 1:42:47 | 1:42:49 | |
I'm here to see how you are. | 1:42:54 | 1:42:57 | |
-How do you feel? -Tired of answering that question. | 1:42:57 | 1:43:02 | |
Otherwise, like shit. How are you? | 1:43:02 | 1:43:05 | |
I'm... | 1:43:08 | 1:43:09 | |
I'm here to ask you to marry me. | 1:43:13 | 1:43:17 | |
I don't need rescuing, Diego. | 1:43:20 | 1:43:22 | |
I do. | 1:43:22 | 1:43:23 | |
I've lost the toes of one foot. | 1:43:26 | 1:43:28 | |
My back is useless. I have an infection of the kidneys. | 1:43:28 | 1:43:31 | |
I smoke. I drink. I curse. | 1:43:31 | 1:43:35 | |
I can't have children. | 1:43:35 | 1:43:37 | |
I have no money, and a stack of hospital bills. Should I keep going? | 1:43:37 | 1:43:41 | |
That's practically a letter of recommendation. | 1:43:41 | 1:43:44 | |
Frida... | 1:43:47 | 1:43:48 | |
Frida... | 1:43:53 | 1:43:55 | |
I miss us. | 1:43:57 | 1:44:01 | |
They say you should never believe a limping dog, | 1:44:05 | 1:44:08 | |
or the tears of a woman. | 1:44:08 | 1:44:10 | |
They're wrong. | 1:44:10 | 1:44:13 | |
THEY SING IN SPANISH | 1:44:33 | 1:44:36 | |
Cristina! | 1:45:30 | 1:45:31 | |
Come on! | 1:45:45 | 1:45:46 | |
"Feet, what do I need you for, if I have wings to fly?" | 1:46:11 | 1:46:16 | |
I want you to burn this Judas of a body. | 1:46:16 | 1:46:18 | |
I don't want to be buried. | 1:46:18 | 1:46:21 | |
I've spent enough time lying down. | 1:46:21 | 1:46:23 | |
Burn it. | 1:46:25 | 1:46:26 | |
Frida... | 1:46:26 | 1:46:28 | |
No, I don't think I'm Frida any more. | 1:46:28 | 1:46:31 | |
I think all the Frida in me has disappeared. | 1:46:31 | 1:46:34 | |
Look at what's left. | 1:46:34 | 1:46:36 | |
Why do you stay? | 1:46:42 | 1:46:44 | |
You stupid girl. | 1:46:48 | 1:46:50 | |
Are you crazy? I forbid it! | 1:46:59 | 1:47:01 | |
Stop it, Diego! You can't force me to stay! | 1:47:01 | 1:47:03 | |
-Oh, yes, I can! -Give it to me! | 1:47:03 | 1:47:05 | |
No, Frida! No, we've been through all this before! | 1:47:05 | 1:47:08 | |
I'm going, damn it! Give me back my fucking leg! | 1:47:08 | 1:47:11 | |
-Doctor, please help me. -What's going on here? | 1:47:11 | 1:47:15 | |
I told her she had to stay in bed. She demanded we call you. | 1:47:15 | 1:47:18 | |
-I'm going to my exhibition. -Frida... | 1:47:18 | 1:47:20 | |
I've waited for a show in my own country my whole life. | 1:47:20 | 1:47:23 | |
I'm not going to miss it. | 1:47:23 | 1:47:24 | |
If the bronchitis gets worse, it will turn into pneumonia. | 1:47:28 | 1:47:32 | |
Frida, under no circumstances are you to leave this bed. | 1:47:32 | 1:47:35 | |
I'll bring you back all the gossip, I promise. | 1:47:35 | 1:47:37 | |
CRISTINA! | 1:47:49 | 1:47:51 | |
There was this skinny kid, with these eyebrows, shouting up at me, | 1:47:53 | 1:47:57 | |
"Diego, I want to show you my paintings!" | 1:47:57 | 1:47:59 | |
But, of course, she made me come down to her. | 1:47:59 | 1:48:01 | |
THEY LAUGH | 1:48:01 | 1:48:05 | |
I did, and... I've never stopped looking. | 1:48:05 | 1:48:09 | |
But I want to speak about Frida, not as her husband, but as an artist. | 1:48:09 | 1:48:16 | |
I admire her. | 1:48:16 | 1:48:18 | |
Her work is acid, and tender. | 1:48:18 | 1:48:21 | |
Hard as steel, fine as a butterfly's wing. | 1:48:23 | 1:48:28 | |
Lovable as a smile. | 1:48:29 | 1:48:31 | |
Cruel as...the bitterness of life. | 1:48:33 | 1:48:37 | |
I don't believe... | 1:48:44 | 1:48:46 | |
..that ever before has a woman put such agonised poetry on canvas. | 1:48:47 | 1:48:52 | |
Shut up, panzon! | 1:48:52 | 1:48:54 | |
Who died? | 1:48:54 | 1:48:56 | |
THEY APPLAUD HER | 1:48:56 | 1:48:59 | |
Where is the music? | 1:49:07 | 1:49:08 | |
You see, doctorcito, I followed your orders. | 1:49:10 | 1:49:13 | |
-I didn't leave my bed. -Frida. | 1:49:13 | 1:49:17 | |
Ay, Doctor, if you let me have this tequila, | 1:49:17 | 1:49:20 | |
I promise not to drink at my funeral. | 1:49:20 | 1:49:22 | |
-It's a deal. -To Frida! -To Frida! | 1:49:22 | 1:49:25 | |
SHE SINGS IN SPANISH | 1:49:29 | 1:49:32 | |
-Are you all right? -Lie down with me. | 1:50:25 | 1:50:28 | |
25 years together, mi Dieguito. | 1:50:51 | 1:50:53 | |
Frida. | 1:50:55 | 1:50:56 | |
Happy silver. | 1:51:01 | 1:51:03 | |
It's not for two more weeks. | 1:51:08 | 1:51:10 | |
17 days. | 1:51:12 | 1:51:14 | |
# Burn this house | 1:52:31 | 1:52:38 | |
# Burn it blue | 1:52:42 | 1:52:49 | |
# Heart running on empty | 1:52:53 | 1:53:02 | |
# So lost without you | 1:53:05 | 1:53:12 | |
# But the night sky blooms with fire | 1:53:15 | 1:53:19 | |
# And the burning bed floats higher | 1:53:19 | 1:53:22 | |
# And she's free to fly... # | 1:53:22 | 1:53:24 |