The Life and Times of Frida Kahlo

This documentary by Frida Kahlo was well organized and well presented. You can not put one's whole life into 90 minutes; however, this came close. We see the places Frida lived and the people and events that influenced her. Luckily, she lived in a time of photography and films. The presenters do not try to include any aspect of her life and do not try to put a spin or judgment on it or her paintings. The presentation is intense and tightly packed. Some films are not found in other media such as books. You may need to stop it periodically to reflect on the contents.

What it is not. It is not of course as in-depth as the book "Frida: A Biography of Frida Kahlo" by Hayden Herrera which includes correspondents and a stronger background of life and times.

Even though this is a first-rate and fascinating documentary it cannot hold a candle to the presentation in the movie "Frida" Starring: Salma Hayek, Mía Maestro Director: Julie Taymor. This is presented as the first person and has a haunting musical complement.

This 90-minute bio-documentary from the PBS Network looks at the life and times of surrealist artist and portraitist, Frida Kahlo.

Born (1907) in Mexico City - Kahlo was a self-taught painter whose work was not given its due recognition until some time after her death.

Through straightforward, voice-over narration, interviews, vintage stills, and numerous images of Kahlo's work - This presentation brings to light the constant physical pain that Kahlo had to endure all of her adult life due to a crippling accident at the age of 18.

*Note* - In 1954 - Frida Kahlo (47 at the time) died from a devastating lung inflammation.

Expertly crafted documentary on the life and times of the Mexican artist whose work continues to increase in both critical and public esteem. For close observers of Kahlo's life, there is not much new here, but the account is brilliantly organized and illustrated.

There is one touching, informal black and white closeup photo of Kahlo and Rivera - their heads only - that I had not seen before. Ms. Stechler seems certain that Kahlo and Leon Trotsky consummated a love affair, though my fairly extensive review of the historical record leaves this something of an open question.

The film was made for PBS - where it first aired on 3/23/05 - by the former spouse and frequent early collaborator of documentarist Ken Burns. This is the best of several films - both documentary and biopic - on Kahlo's life that I have seen. For more, go to the PBS website: http://www.pbs.org/weta/fridakahlo/ My grade: B+ 8/10.

As with some other excellent PBS documentaries, this one manages to combine a chronological treatment with a thematic one - a key technique that encourages full absorption in this fascinating biographical subject.

Most of us know Frida Kahlo only by her trademark eyebrows, not least because so many of her works are self-portraits. But as one of the commentators remarks, "It is impossible to separate the life and work of this person." Two big influences are immediately apparent - a near-fatal traffic accident at eighteen and the stormy relationship with her husband, the communist mural-painter Diego Rivera.

The accident had left her with a smashed spine, pelvis and thighs, in her own words 'old in an instant', and as it would turn out, infertile too, following a wretched miscarriage. Art historian Victor Zamudio Taylor comments that she had to piece herself together, while also pieceing together Mexico itself, whose history took dramatic turns throughout her short life. Her earliest memories were of the Zapata revolution, which raised a lot of false hopes, but turned Mexico City into a brilliant centre of creativity and debate. In particular, there was a keen celebration of pre-Columbian history, rejecting the European influences, digging deep into hidden Mexico.

This accounts for many of the aggressive shapes and colours in her work, in which politics and religion also show through clearly. Catholic by upbringing, she became a Stalinist rebel, but her own sufferings emerge in images that reflect the dolours of the cross. 'Painting pain' somebody called it.

Her husband Diego was huge, ugly and anarchistic. (Her disapproving mother said it was like an elephant marrying a dove.) Like all Marxists, he conveniently declared that 'fidelity is bourgeois', and carried on shamelessly with her trusted sister, among others. Frida now considered herself at liberty to cultivate new relationships, not all of them with men, but this did not seem to bring happiness; there was even a brief divorce. It seems they couldn't live with each other, or without each other, in the style of Rhett and Scarlett.

But the never-ending pain eventually grew too much, and the painkillers became an addiction. Her first solo exhibition in Mexico City was celebrated as her death party, as she insisted that the whole four-poster bed should be transported to the gallery, with her in it. What a way to go!

Meanwhile it was Diego who had arranged for Trotsky to come to Mexico and live with them. Trotsky's close friendship with Frida may or may not have been consummated, but it is odd that we hear nothing of their reactions to his violent death. This is one of only a few small criticisms we can level at this otherwise excellent production with its exceptionally high standard of commentary. For example, the film ends on a recent auction, at the moment when a Kahlo painting passes the million-dollar mark. But we are not told why interest in Kahlo should have risen so sharply after her death. Also, the musical track is rather cod-Mexican, quite apart from occasional bumps and squeaks.