Film Review: Blood and Sand (1941)

The works of Spanish writer Vicente Blanco Ibanez were a staple of silent era Hollywood, with their exotic settings and melodramatic plots. His 1908 novel Sangre y arena (“Blood and Arena”), was adapted into the 1922 film Blood and Sand, directed by Fred Niblo and starring legendary silent era star Rudolph Valentino in of his most iconic roles. Nineteen years later, the same novel was reimagined with sound and colour, under the direction of Rouben Mamoulian, resulting in one of the most successful melodramas of Classic Hollywood.

The plot begins in Seville where we are introduced to the protagonist, Juan Gallardo (played by Rex Downing), a poor and illiterate boy whose father, a bullfighter, died in the bullring, leaving him and his mother (played by Nazimova) destitute. Young Juan is nevertheless determined to follow his footsteps and, when opportunity arises, joins group of friends who travel to Madrid to train as bullfighters. Ten years later, now adult Juan (played by Tyrone Power), is the most celebrated toreador in whole Spain and has enough money to return to Seville in triumph and marry his childhood sweetheart, Carmen Espinosa (played by Linda Darnell). However, Juan's ability to retain fame and fortune is short-lived, especially he succumbs to the charms of the predatory seductress, Doña Sol (played by Rita Hayworth).

Mamoulian, one of the first Hollywood directors to start his career in the post-silent era, was determined to provide audiences with something Fred Niblo in 1922 could not. The most obvious difference is the use of colour, provided by the expensive and complicated Technicolor system. Mamoulian staged lighting and scenery based on the paintings of famous Spanish painters like Goya, Velazquez, and El Greco. Those efforts were recognised and Maoulian’s cinematographers Ernest Palmer and Ray Rennahan were awarded with Osccar.

The soundtrack by Alfred Newman is equally impressive, featuring flamenco songs by Vicente Gomez and some excellent dance numbers, particularly the one near the end of the film. Mamoulian and producer Daryl F. Zanuck worked hard to make the film authentic, shooting actual footage of bullfighting in Mexico and having famous bullfighter Armilita train Tyrone Power and other members of the cast.

Mamoulian even indulges in some unconventional scenes, making the film look like an art film at times. An example is the imaginary conversation between Carmen and Virgin Mary during prayer.

The cast is excellent, including Tyrone Power, Linda Darnell, and small army of great character actors, including Laird Cregar as obese but influential newspaper bullfighting reviewer Curro,. Many of the actors involved in the film met tragic and premature ends. That wasn’t the case with Anthony Quinn, who survived the alleged curse after leaving strong impression as Juan's former friend, rival, and successor, Manolo. However, the best-known member of the cast is Rita Hayworth, who effortlessly plays the vampish and utterly destructive character, paving the way for her establishment as a sex symbol and later, a film noir icon.

The script by Jo Swerling, unlike in Niblo’s version, dispenses with Ibanez's criticism of bullfighting as inherently barbaric. Instead it is focused on somewhat more universal themes, although much closer to home for anyone from Hollywood. Melodramatic and ultimately tragic story serves as an allegory for the transitory nature of fame, the capriciousness of crowds, and the inability of even the best performers to control their messy private lives.

Although the film may look a little overlong, Blood and Sand is surprisingly entertaining and emotionally engaging, showcasing Classic Hollywood at its best. In 1989 another version, starring Christopher Rydell and Sharon Stone, was produced in Spain.

RATING: 8/10 (+++)

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