That said, being quite honest and not at all cynical, I've always appraised much of Kahlo's work as veering into emotional pornography of the basest type. It's quite useful as a psychological warning sign, and I like the monkeys, but the constant grotesqueries grow tiresome. Going in with this opinion indicates just how well Taymor's movie works, as it generously allows the viewer to feel Kahlo's art through the prism of her immensely challenging context, all the while dodging the strictures of a staid biopic or mere celebration (the artist frequently comes across as nuts). It's masterful, and Taymor's obviously immensely proud of it, as her directorial credit hovers above the image of a strutting peacock.
When we first meet Frida as an adolescent -- convincingly portrayed by Hayek throughout, although she wimped out on the mustache -- the girl's already a feral hellcat, riding her boyfriend Alejandro (Diego Luna) within spitting distance of her mother, Mathilde (Patricia Reyes Spindola), and sister Cristina (Mia Maestro). In short order, while she jovially dresses in drag -- no subtle foreshadowing here -- we catch some handy familial exposition via her father, Guillermo (Roger Rees), and watch her mocking the womanizing exploits of cosmopolitan artist and ardent communist Diego Rivera (Alfred Molina, most likely inheritor of that other actorly Oscar envelope).
Then comes the accident, which is already legendary to Kahlo's fans yet shan't be revealed here. Let's just say that something truly awful happens to Frida (an incident made violently beautiful by Taymor, cinematographer Rodrigo Prieto, and editor Françoise Bonnot), and her suffering catapults her already fiery psyche into new realms of perception. The girl is dead, the woman is born.
And what a woman. Frida comes alive through her painting, but before anyone can mumble "female Van Gogh," Taymor takes Kahlo's experience to a mythic, universal level. The transition begins during young Kahlo's coma, filled with macabre skeletal imagery from the brink of madness (or possibly The Nightmare Before Christmas), and it carries on through the screenplay's beautiful circular structure, wherein we end where we began, with Frida on her deathbed, comfortable in her pain and her grand pursuits of pleasure. For us, those pleasures include terrific forays into animation and composition, plus hot cameos from Ashley Judd (using that sleepy eye to alluring effect), Antonio Banderas (genuinely funny), Saffron Burrows, and Karine Plantadit-Bageot (bring a fire extinguisher).
The bulk of the film showcases some of the best direction of actors this year. The work of Hayek, Molina, and the magnificent Valeria Golino (as Rivera's previous wife, Lupe Marín) forms a powerful parallel to the equally brilliant but far more tragic Auto Focus by Paul Schrader, also a tale of art, lust, sex-madness, and addiction. (The year's best double feature; bring a date!) Young-adult Kahlo turns to Rivera for mentorship on her art, and soon the two marry (the "girl with cojones" meets the "man with melones"), setting up some fascinating exchanges with Golino. (Another envelope, please, for Best Supporting Actress.) The romance of Frida and Diego is a remarkable -- and remarkably sexy -- study in sexual politics.
The film's regular politics are equally engrossing, as communist Rivera runs counter to conservative expectations while painting a mural in New York for Nelson Rockefeller (a game Edward Norton). Global ideological chaos continues as Rivera and Kahlo, back in Mexico, host Leon Trotsky (Geoffrey Rush, finally not grating, but the fornication could have been implied) and his wife (Margarita Sanz) at their home, with Kahlo's sensual intervention leading, indirectly, to Trotsky's doom. But despite its constant dips into darkness, this is a film of light and life. Through Taymor's telling of Kahlo's story, we emerge focusing not on pain, but on our vast and endlessly colorful potential. ¡Brava!