Holden categorized Middle School as a comedy-drama film with a moral of learning and making the best out of difficult situations. In writing the female characters, Holden tried to make them unique from the "boilerplate girl" types typical in other films: "I definitely wanted them to be full of life like the girls that I know and to have that spunk." She used the "fun, spunk and spirit" of her niece to write Georgia, and the "alter ego of what I wished I could be" to flesh out Jeanne's character.[7]
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It is hardly enough time to do justice to the passionate life and art of Frida Kahlo, the Mexican painter who seems about to jump off the canvases of her vibrant, fantastic self-portraits. Even more than her accessible art, Kahlo's explosive existence has made her something of a pop icon in recent years. That well-documented life is the subject of "Frida Kahlo: A Ribbon Around a Bomb," a part-documentary, part-performance film published on 1992.The director Ken Mandel takes a scattershot approach to this material. He weaves together interviews with people who knew Kahlo, several photographs and films of her, and many shots of her most familiar paintings. Most successfully, he includes excerpts of a theater piece by Abraham Oceransky called "The Diary of Frida Kahlo," presented by Teatro Dallas.The documentary sections are extremely weak, because Kahlo's associates are not sufficiently identified, their often spurious opinions not put in any context. Surely the bloodiness of Kahlo's paintings cannot be traced simply to her one-time ambition to study medicine, as an interview subject claims. But the dramatized episodes, based on Kahlo's diaries, are surprisingly effective. Most of this theater piece is a monologue performed by Cora Cardona, sometimes joined by Quigley Provost as a younger Kahlo. Ms. Cardona does not imitate Kahlo so much as bring the depths of that volcanic, tortured personality to life. Depicting Kahlo's reaction to her accident, she wraps a large chain around her leg and reveals both pain and astonishing strength as she says: "I am not dead. I am not sick. I am only broken."Still, the film, whose subtitle comes from Andre Breton's description of Kahlo's art, is likely to be too shallow for anyone who knows her story and too sketchy for anyone unfamiliar with it. Ms. Cardona's trenchant performance hints at how illuminating this film might have been. 2ff7e9595c
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