Belle Epoque

Spain seems intent on muscling its way into the European bedroom farce genre. That's the general feel that thor­oughly permeates Belle Epoque, a pleasant, if inconsequential, sex farce that's most notable for hugging the border between French sophistication and Italian slapstick with the amenable indifference of a neutral country that's working overtime to please everybody.
Belle Epoque is enjoyable, even surprising on occasion. But you just know that you've seen it all before (though the Italian versions tend to have more pastas and obvious phallic references).

Belle Epoque is set during that magical moment in 1931 when Spain was poised on the verge of leaving the Middle Ages and belatedly entering the 20th century. The Spanish monarchy is in the process of being overthrown, and a political union of leftist parties has declared a republic. The Spanish Civil War is still a few years away, and Gen­eralissimo Franco is still an obscure army officer. The fascist forces that would even­tually seize control of Spain appear to be on the run, and a casual air of radicalism has broken out in the countryside like a heady bout of spring fever.

Into this major outbreak of democratic fever stumbles Fernando (Jorge Sanz), an army deserter who's looking for a place to hide. Fernando is a relatively sweet-natured young man whose only skills are cooking and playing the bugle. Fortunately, an aging painter named Manolo (Fernando Fernan Gomez) is willing to give Fernando lodging for a while, because the boy listens patiently to Manolo's odd list of personal complaints and thwarted ambitions. Besides, Manolo has four attractive daughters who are com­ing from Madrid for a visit, and Fernando is a romantic sap who keeps falling hopelessly in love - over and over again.

As Fernando beds his way through the family, the daughters begin to discover things about themselves: the tomboyish Violeta (Ariadna Gil) prefers her indepen­dence. The widowed Clara (Miriam Diaz-Aroca) is ready for a new relationship. Rocie (Maribel Verdu) may finally be will­ing to accept her polite, but boring, suitor, while Luz (Penelope Cruz) is yearning to alter her virgin status.

In the pipe dream story of Belle Epoque, Fernando becomes the unwitting agent for change, personally and politically. Radio reports chronicle the formation of the Spanish Republic while Fernando under­goes repeated test runs as a potential son-in-law. Somewhere along the line, you expect the political commentary and sexual hijinks to converge, but the don't.

Belle Epoque is charming and funny, but it's also a very minor film. In fact, it helps if you don't know much about the politics involved — then you don't have to be both­ered by their seemingly pointless inclusion.