nice costumes, great cast. and a lot of crumbs. the sin of film is the lost of story. nothing coherent, few poetic images, many good intentions and a fake result - too pink, too kitsch, too unrealistic. the solutions are many for save the story. but the great problem is the absence of a clear project. it is a film about corrida and a legendary matador, about love and infidelity, about the vulnerability of a hero but nothing profound - only a large collection of sketches without a real purpose. for Adrien Brody and Penelope Cruz the film is only occasion for another role. but that is the basic problem. why that actors for a confuse project ?a film like many others. not bad. only uninspired.

Something happened with this film on its way to the screen. For a big budget picture, the biopic about Manolete, one of Spain's most renown, and charismatic bullfighters, it does not have the spark it needed to ignite its action. The man at the center of the story and the temptress that was the love of his life, are seen in flashbacks as Manolete goes to his final appearance in the bullring. The basic problem of "Manolete" is the casting of Adrian Brody, an actor that usually gives good performances, but in this film, he appears wooden and devoid of life, for a man that faced death with each new bullfight he entered. The figure of the larger than life matador does not come across, the way director Menno Meyjes decided to give the picture. In contrast, Penelope Cruz, playing Lupe, Manolete's mistress, counteracts by playing her with the fire that her character is supposed to have. There is no chemistry between Mr. Brody and Ms. Cruz. The supporting cast is basically an after thought, especially a static Santiago Segura and Juan Echenove.See it at your own risk.

"Matador's Mistress" might be profitably viewed - and not so easily underestimated - if we try to see it as a work of art in its own right, that is, as much more than a dramatic tribute to the legendary bull-fighter Manolete or a cinematic rendering of his great passion for Lupe. Manolete's tale has been elevated to an archetypal tragedy of Love-Death. Director Meyjes has put right under our noses the mad mechanics of our wildest dream, in full confidence that it will fascinate romantic viewers without their fully registering what's going on. But the clues to a psychological study of machismo are all here. Why else does the film open with the brazen insult that Lupe has scrawled in lipstick on Manolete's mirror, an act of humiliation, ripping into her lover's essential wound? And why does it alternate, so suggestively, the scene of Manolete's and Lupe's love-making with that of the fight in which Manolete daringly caresses the bull? And Manolete's relation to his mother, plainly making Lupe her surrogate? This romance turns on the little secret that he gives up in his sexual climax, in the little death that secretly prepares the viewer for his last words. Whatever the historical relationship between these lovers, it has been taken up artfully into an exploration of the matador's psyche, and by extension, the psyche of Spain. Lupe plays a cruel game with Manolete, because the psychic roots of his devotion are so exposed, more than any woman wants to see. Yet the film asks: is there ever any other source of obsession with Woman? Lupe can only despise Manolete, even as she is ravished by him. Such a love can only find one resolution.A genuine work of art.

Remembered as one of the world's greatest matadors, I thought that there might be some clues into this person, or into what might draw someone to the controversial world of the bullring. Instead the story made Manolete out to be a love-sick puppy, somewhat clueless, and focused entirely on dying. (Don't know if this is really a spoiler, since the film begins with his funeral.) The cinematography is beautiful. The acting itself is good, and Adrian Brody is a scary dead-ringer, so to speak, for the man himself. Penelope Cruz is also good as the passionate temptress. Hollywood, of course, has to focus entirely on the woman's figure, and the turbulent romance, at the exclusion of all else that probably made up what was a fascinating life. I wouldn't watch it again.