Original subtitles

BLOOD WEDDING

- Here we are. - Hi.

You'II be over here.

Cristina, that's your spot.

Antonio, you're here, and you're over here.

What about our dressing room?

Upstairs.

Let's go upstairs.

Anyone have any aspirin?

You can give it to me Iater.

José, where's the picture?

Here.

CouId I have the mirror?

Stay there.

Everything's in its pIace.

I'II get you some makeup.

I Ieft a sponge here the other day. Grab someone eIse's.

But don't use it on his Iips. He's been eating pastries aII day.

Don't worry.

We'II fix that donkey face of his.

Yeah, my snout's just Iike a donkey's.

Hey, what are you doing? - Making you up.

I'm reaIIy in bad shape today.

I can't do anything.

Don't tune it a haIf step high this time.

- It's the same as aIways. - It's aIways too high.

Listen to where it is.

It's you, jerk!

You tuned it too high the other day.

It's fine. I used Toñin's pitch pipe.

Not my eyebrows!

Try it again.

The cap too?

I'II catch pneumonia without it.

Toñin and José, Iisten.

Let's go over the song during Cristina's soIo after the duet,

where the voices come in.

That's right. Gómez, join in with him.

That's it.

Let the bride awaken

With love's tender green bough in flower

Let the singers make their rounds

And hang a garland from every balcony

Let the bride awaken

On the wedding morn

l really began dancing out of hunger.

l wanted to stay in school, but that was impossible,

so l had to start working when l was 1 1.

l was an errand boy for some photographers.

At 1 4 l started in the print shop of a newspaper.

l even tried boxing, but after the first blow, l said,

"Find yourself another punching bag!"

l raced bikes - everything.

Purely by chance a neighbor lady said,

"Why don't you try dance school?"

l danced the way a little kid dances. l didn't know a thing.

l started at Palitos's dance school,

and three months later, a black man named Harry Fleming saw me.

He had a cabaret show. l thought l'd be dancing flamenco!

ln Santander he gave me a mambo shirt and some bongos,

and l accompanied "Princess Menen. "

She danced the mambo while l played the bongos.

Then a friend of Pilar López saw me and recommended me.

The thing is...

l was just a bumpkin. Totally green. l knew nothing.

All l did was repeat the steps they taught me.

Then l decided to leave Pilar López's troupe,

and l stayed on in Paris to study dance and contemporary painting

and see other shows, other art forms.

l'd never seen Vicente Escudero dance.

l'd just seen a few pictures.

Suddenly Pilar López says,

" You're exactly like Vicente Escudero when he was young,

even physically.

Those long hands,

those tapered fingers like a bird of prey,

that nose, those facial features. "

And Mariemma, who was a friend of his,

was astounded at how much l was like him.

l'd never seen him dance, never even seen him in person.

One day he came and saw me dance.

And this man who never ever told anyone

that they danced well

came to see me,

and he was like a grandfather with his beloved grandson.

He was so fond of me.

He'd been a man of great dignity throughout his career,

a serious man that nobody messed with.

He always did what seemed necessary.

He never sold out,

and he died with amazing dignity.

l was very fond of him and respected him enormously.

He never went in for the games performers play.

All of that.

So l go to live in Paris,

and l send him a postcard saying, "Maestro... "and so on.

He writes back that l was living

in the same apartment he'd lived in for 20 years,

at 36 rue Boulanger.

Everyone here?

Let's start with this phrase.

On the first four, your arms are here.

On the second four, it goes out and comes in.

Out and in.

And the ending is here.

The arms are here. Then they go out.

Let's try it.

One and two...

Is that cIear?

Here we go. One and two...

Arm up!

Stay with it!

So-so.

The end was a IittIe weak.

Where's the head go?

The head goes there and then front.

Arm up!

Stay with it!

What a mess. No offense.

No offense.

What a disaster!

Ready?

AII right. Is that aII cIear?

The head.

Let's take the Iast two phrases.

From the arm up?

That's a IittIe better.

Let's do this one.

But suspend it here. Don't just faII into it.

ReaIIy suspend it there.

The head goes side and then front.

- The arm up and out? - Yes.

- Starting to which side? - That side.

- How many times? - Four.

Better!

Let your body faII.

Lift up!

Down!

Stretch everything! Your head!

As Vicente Escudero used to say, do your IeveI best.

Once more?

I'II watch.

Do we move the wrist?

One thing. Wait a beat here.

HoId it, hoId it, and then draw out the faII.

Good!

Suspend here!

Good.

Don't worry about it.

Let's go on the diagonaI.

Give me the rhythm.

Don't get ahead of yourseIf at the end. HoId it together.

One at a time on the diagonaI,

and the rest of you keep the rhythm.

Don't Iook down!

Don't raise your eyebrows!

A IittIe more!

Lift up, Lario!

Good.

Are you warmed up now?

Then Iet's change and start the rehearsaI.

- FuII dress rehearsaI? - Yes, costumes and everything.

We're done?

- Where have you come from? - BoIIuIIo.

- What have you brought me? - Five duros.

Scratch here and here, and this is yours!

My God.

- How's my bun Iook? - AwfuI.

I can't stand these shoes.

I think they're shrinking. - You're sweating!

Of course - with good reason!

And we're not done yet!

Oh, my feet!

These shoes!

Are they new?

They've just aIways bothered me.

- What's the matter? - I'm reaI nervous.

- About what? - You think it'II go weII?

Of course. Things aIways work out.

Antonio was nervous too, but we got the step right.

You're doing great. No probIem with the knee?

It hasn't bothered me for the Iongest time.

You scared me the other day during the fight.

It aIways cracks right at that moment.

I've gotten used to it.

I'm used to that sound.

The knives.

Let me see another one.

No, I'II keep this one.

Juan, here.

- Which is mine? - One of them sticks.

Give me a hand.

Turn it over. That's good.

- Want a pin? - No, not right now.

WiII you heIp me? Then I'II heIp you.

WiII you zip me up?

Good Iuck, Iadies.

- Same to you. - We'II need it!

Everyone, pIease.

Sit in the spot you'II be entering from,

so no one crosses in back except those who have to.

I'm not stopping for any reason.

AII the way through, no matter what happens.

DanieI, pass out the knives and everything.

You have your knife?

What about this one?

Give it to José Luis.

Ready, PiIar?

Music, pIease, Paco.

l do.

l do.

My baby sleeps

My baby is still

His cradle's made of steel

His quilt of fine cambric

Hush, my child

Ay, the stallion

That wouldn't drink of the water

on't come here

o off to the mountain

Through the gray valleys

Where the mare stands

My baby is sleeping

My baby is resting

Sleep, my little carnation

For the horse won't drink

Sleep, my rose

For the horse is beginning to weep

Let the bride awaken

With love's tender green bough in flower

Let the singers make their rounds

And hang a garland from every balcony

Let the bride awaken

On the wedding morn

ln a green field l spread my kerchief

Three roses fell like three bright stars

My princess's carriage has cost me a fortune

To carry the couple on their way to wed

Arise

Sleep no more

For the early morning

Will see you wed

Long Iive the bride and groom!

Long Iive Iove!

Black ribbon, black tresses

Like those of that dark-skinned maiden

Whose jealous ways

rained the blood from my veins

Your brim holds the tremors

Of a luckless lass

Who cries from heartbreak

ln the light of the moon

ln the light of the moon

My hat, oh my hat

You are a font of grace

And you display a matador's pomp

When l take you to the bullfights

l love you because on your brim

Oh hat of my heart's bliss

You bear, gracefully embroidered

A woman's kiss

You have such a set to you

There is in you such lordliness

You are king among the carriages

That parade in honor of Our Lady of the Morning ew

All around your elegant brim

Still flutter the woeful moans

Left by tender promises

Swept away by the wind

When l take you to the bullfights

l love you because on your brim

Oh hat of my heart's bliss

You bear, gracefully embroidered

A woman's kiss

Let's hear it for Iove!

The lovers sang The water flowed on

And the wedding approached

Let the frost sparkle

And the bitter almonds be filled with honey

Spread the tablecloths

Make ready the wine

For the groom's a dove with his breast all aflame

While the fields listen for the murmur of spilled blood

The wheel turned and turned

The wheel turned

And the water flowed on

Let the bride awaken

With love's tender green bough in flower

Let the singers make their rounds

And hang a garland on every balcony

Let the bride awaken

On the wedding morn

SubtitIes by JOHN GUDELJ for SUBTEXT SUBTITLING