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Mad Love (2001)
Tomatometer
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Reviews Counted: 49
Fresh: 23
Rotten:26
Average Rating: 5.4/10
Consensus: An overwrought bodice-ripper, Mad Love is more silly than dramatic.
Theatrical Release:Aug 30, 2002 Limited
Synopsis: Laredo, 22nd August, 1496. A fleet sets sail for Flanders. Its mission, to carry Princess Joan to the court at Brussels where she is to be wed to the monarch later to be known as Philip the... Laredo, 22nd August, 1496. A fleet sets sail for Flanders. Its mission, to carry Princess Joan to the court at Brussels where she is to be wed to the monarch later to be known as Philip the Handsome. Sparks fly at their first meeting. One look is enough to touch off mutual attraction and uncontrollable desire. They forget their political obligations and abandon themselves to their emotions. However, destiny has other plans in store for them. The death of her elder brother and sister and her mother Isabella the Catholic leave Princess Joan as the Queen of Castile and heir to the crown of Aragon. These events culminate in two battles: one political, between the Flemish and Castilian nobility, and the other, much more grievous, is the one Joan will wage in her marriage bed. -- © 2002 Sony Pictures Classics [More]
Starring: Pilar Lopez de Ayala, Daniele Liotti, Manuela Arcuri, Eloy Azorin
Starring: Pilar Lopez de Ayala, Daniele Liotti, Manuela Arcuri, Eloy Azorin, Rosana Pastor, Giuliano Gemma
Director: Vicente Aranda
Director: Vicente Aranda
Screenwriter: Vicente Aranda
Studio: Sony Pictures Classics
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Reviews for Mad Love
A sumptuously-appointed account of the life of the 16th-century Spanish royal Joan of Castile.
A chick flick of the first order, disguised by just enough historical detail to elevate the proceedings somewhat.
Nothing more or less than an outright bodice-ripper -- it should have ditched the artsy pretensions and revelled in the entertaining shallows.
Aranda's screenplay and direction are rather shallow, so that this bodice-ripper feels more like a Lifetime made-for-cable movie than an epic, tragic romance.
Accuracy and realism are terrific, but if your film becomes boring, and your dialogue isn't smart, then you need to use more poetic license.
Lush and beautifully photographed (somebody suggested the stills might make a nice coffee table book), but ultimately you'll leave the theater wondering why these people mattered.
So vivid a portrait of a woman consumed by lust and love and crushed by betrayal that it conjures up the intoxicating fumes and emotional ghosts of a freshly painted Rembrandt.
Less a study in madness or love than a study in schoolgirl obsession.
There's no point of view, no contemporary interpretation of Joan's prefeminist plight, so we're left thinking the only reason to make the movie is because present standards allow for plenty of nudity.
The modern-day royals have nothing on these guys when it comes to scandals. It's only in fairy tales that princesses that are married for political reason live happily ever after.
There's a little violence and lots of sex in a bid to hold our attention, but it grows monotonous after a while, as do Joan and Philip's repetitive arguments, schemes and treachery.
Forget the Psychology 101 study of romantic obsession and just watch the procession of costumes in castles and this won't seem like such a bore.
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