The face of Frida

MANOHLA Dargis’ review of the stagy “Frida” was spot on (“A Portrait of ‘Frida’ That’s All in the Framing,” Oct. 25). Frida Kahlo was obviously more interesting than we are being shown in this melodramatic telenovela of a film more appropriately titled “Treinta-something.”

I could have easily watched Julie Taymor’s stunning representations of Kahlo’s work and madness for two hours, because there’s nothing beautiful about its weak attempt at portraying her emotions.

Greg Reeves

Westwood

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I think Dargis expects to see the pain that Kahlo captured on canvas reproduced on Salma Hayek’s face: “The best Hayek can do with her lovely face is cloud it with worry, but the face of Frida Kahlo demands anguish.”

More anguish in the acting? Look at the paintings; the anguish is there.

What the movie depicts is the complexity of a woman who sought to love and be loved, whose outer life was lavish and lonely, and whose politics were radical and leftist.

For director Taymor’s beautiful interpretation of Kahlo’s life, go see the film; don’t be deterred by Dargis’ unfulfilled expectations. For the pain and the anguish -- both inner and outer -- go to the paintings.

Lenore Navarro Dowling

Los Angeles