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1
00:00:56,056 --> 00:01:02,325
BLOOD WEDDING
2
00:03:48,294 --> 00:03:50,592
- Here we are.
- Hi.
3
00:03:54,567 --> 00:03:56,933
You'II be over here.
4
00:03:58,271 --> 00:04:00,000
Cristina, that's your spot.
5
00:04:00,873 --> 00:04:04,001
Antonio, you're here,
and you're over here.
6
00:04:10,216 --> 00:04:12,241
What about
our dressing room?
7
00:04:12,952 --> 00:04:15,614
Upstairs.
8
00:04:28,601 --> 00:04:30,626
Let's go upstairs.
9
00:04:50,623 --> 00:04:53,183
Anyone have any aspirin?
10
00:04:53,393 --> 00:04:55,588
You can give it to me Iater.
11
00:05:42,041 --> 00:05:43,941
José, where's the picture?
12
00:05:44,377 --> 00:05:45,867
Here.
13
00:06:27,987 --> 00:06:30,182
CouId I have the mirror?
14
00:07:05,992 --> 00:07:08,085
Stay there.
15
00:07:09,862 --> 00:07:12,660
Everything's in its pIace.
16
00:07:13,366 --> 00:07:15,391
I'II get you some makeup.
17
00:07:15,601 --> 00:07:20,038
I Ieft a sponge here the other day.
Grab someone eIse's.
18
00:07:20,873 --> 00:07:26,311
But don't use it on his Iips.
He's been eating pastries aII day.
19
00:07:26,512 --> 00:07:28,309
Don't worry.
20
00:07:28,514 --> 00:07:30,482
We'II fix that donkey face of his.
21
00:07:30,683 --> 00:07:34,210
Yeah, my snout's
just Iike a donkey's.
22
00:07:38,825 --> 00:07:41,794
Hey, what are you doing?
- Making you up.
23
00:07:43,262 --> 00:07:46,390
I'm reaIIy in bad shape today.
24
00:07:47,567 --> 00:07:50,331
I can't do anything.
25
00:07:52,505 --> 00:07:57,169
Don't tune it
a haIf step high this time.
26
00:07:57,376 --> 00:08:00,106
- It's the same as aIways.
- It's aIways too high.
27
00:08:00,313 --> 00:08:02,543
Listen to where it is.
28
00:08:05,818 --> 00:08:08,309
It's you, jerk!
29
00:08:14,160 --> 00:08:16,287
You tuned it too high
the other day.
30
00:08:16,496 --> 00:08:19,056
It's fine.
I used Toñin's pitch pipe.
31
00:08:19,265 --> 00:08:21,426
Not my eyebrows!
32
00:08:24,003 --> 00:08:25,800
Try it again.
33
00:08:38,784 --> 00:08:40,251
The cap too?
34
00:08:40,453 --> 00:08:42,683
I'II catch pneumonia
without it.
35
00:08:53,366 --> 00:08:56,199
Toñin and José, Iisten.
36
00:08:56,402 --> 00:09:00,532
Let's go over the song
during Cristina's soIo after the duet,
37
00:09:00,740 --> 00:09:04,005
where the voices come in.
38
00:09:06,412 --> 00:09:09,643
That's right.
Gómez, join in with him.
39
00:09:11,884 --> 00:09:13,715
That's it.
40
00:09:23,129 --> 00:09:29,557
Let the bride awaken
41
00:09:29,769 --> 00:09:36,231
With love's tender
green bough in flower
42
00:09:44,317 --> 00:09:49,949
Let the singers
make their rounds
43
00:09:50,156 --> 00:09:56,254
And hang a garland
from every balcony
44
00:10:10,676 --> 00:10:16,080
Let the bride awaken
45
00:10:23,589 --> 00:10:29,585
On the wedding morn
46
00:11:02,228 --> 00:11:07,564
l really began dancing
out of hunger.
47
00:11:07,767 --> 00:11:11,134
l wanted to stay in school,
but that was impossible,
48
00:11:11,337 --> 00:11:16,104
so l had to start working
when l was 1 1.
49
00:11:16,308 --> 00:11:19,300
l was an errand boy
for some photographers.
50
00:11:19,512 --> 00:11:24,677
At 1 4 l started in the print shop
of a newspaper.
51
00:11:25,084 --> 00:11:29,111
l even tried boxing,
but after the first blow, l said,
52
00:11:29,321 --> 00:11:32,552
"Find yourself
another punching bag!"
53
00:11:32,758 --> 00:11:35,852
l raced bikes - everything.
54
00:11:36,062 --> 00:11:40,362
Purely by chance
a neighbor lady said,
55
00:11:40,566 --> 00:11:43,330
"Why don't you try
dance school?"
56
00:11:43,536 --> 00:11:49,202
l danced the way a little kid dances.
l didn't know a thing.
57
00:11:49,408 --> 00:11:52,070
l started
at Palitos's dance school,
58
00:11:52,278 --> 00:11:56,305
and three months later, a black man
named Harry Fleming saw me.
59
00:11:56,515 --> 00:12:01,384
He had a cabaret show.
l thought l'd be dancing flamenco!
60
00:12:01,587 --> 00:12:08,015
ln Santander he gave me
a mambo shirt and some bongos,
61
00:12:08,227 --> 00:12:10,661
and l accompanied
"Princess Menen. "
62
00:12:10,863 --> 00:12:15,926
She danced the mambo
while l played the bongos.
63
00:12:16,268 --> 00:12:21,365
Then a friend of Pilar López saw me
and recommended me.
64
00:12:21,574 --> 00:12:25,203
The thing is...
65
00:12:26,378 --> 00:12:32,840
l was just a bumpkin.
Totally green. l knew nothing.
66
00:12:33,052 --> 00:12:36,317
All l did was repeat
the steps they taught me.
67
00:12:36,522 --> 00:12:39,685
Then l decided to leave
Pilar López's troupe,
68
00:12:39,892 --> 00:12:45,091
and l stayed on in Paris to study
dance and contemporary painting
69
00:12:45,297 --> 00:12:49,290
and see other shows,
other art forms.
70
00:12:49,502 --> 00:12:52,767
l'd never seen
Vicente Escudero dance.
71
00:12:52,972 --> 00:12:55,702
l'd just seen a few pictures.
72
00:12:55,908 --> 00:12:57,967
Suddenly Pilar López says,
73
00:12:58,177 --> 00:13:01,374
" You're exactly like Vicente Escudero
when he was young,
74
00:13:01,580 --> 00:13:04,640
even physically.
75
00:13:04,850 --> 00:13:06,545
Those long hands,
76
00:13:06,752 --> 00:13:09,312
those tapered fingers
like a bird of prey,
77
00:13:09,522 --> 00:13:12,457
that nose,
those facial features. "
78
00:13:12,658 --> 00:13:16,560
And Mariemma,
who was a friend of his,
79
00:13:16,762 --> 00:13:19,390
was astounded
at how much l was like him.
80
00:13:19,598 --> 00:13:23,557
l'd never seen him dance,
never even seen him in person.
81
00:13:23,769 --> 00:13:27,000
One day he came
and saw me dance.
82
00:13:27,206 --> 00:13:31,404
And this man
who never ever told anyone
83
00:13:31,610 --> 00:13:35,239
that they danced well
84
00:13:35,447 --> 00:13:37,813
came to see me,
85
00:13:38,017 --> 00:13:43,853
and he was like a grandfather
with his beloved grandson.
86
00:13:44,056 --> 00:13:46,684
He was so fond of me.
87
00:13:46,892 --> 00:13:50,123
He'd been a man of great dignity
throughout his career,
88
00:13:50,329 --> 00:13:52,957
a serious man
that nobody messed with.
89
00:13:53,165 --> 00:13:55,759
He always did
what seemed necessary.
90
00:13:55,968 --> 00:13:58,835
He never sold out,
91
00:13:59,038 --> 00:14:02,940
and he died
with amazing dignity.
92
00:14:03,142 --> 00:14:07,340
l was very fond of him
and respected him enormously.
93
00:14:07,546 --> 00:14:10,845
He never went in
for the games performers play.
94
00:14:11,050 --> 00:14:13,314
All of that.
95
00:14:13,519 --> 00:14:16,352
So l go to live in Paris,
96
00:14:16,555 --> 00:14:20,184
and l send him a postcard saying,
"Maestro... "and so on.
97
00:14:20,392 --> 00:14:23,725
He writes back
that l was living
98
00:14:23,929 --> 00:14:27,592
in the same apartment
he'd lived in for 20 years,
99
00:14:27,800 --> 00:14:30,496
at 36 rue Boulanger.
100
00:16:34,460 --> 00:16:36,223
Everyone here?
101
00:16:38,097 --> 00:16:41,260
Let's start with this phrase.
102
00:16:43,869 --> 00:16:48,272
On the first four,
your arms are here.
103
00:16:48,474 --> 00:16:52,205
On the second four,
it goes out and comes in.
104
00:16:52,411 --> 00:16:54,902
Out and in.
105
00:16:55,114 --> 00:16:57,344
And the ending is here.
106
00:16:58,450 --> 00:17:01,908
The arms are here.
Then they go out.
107
00:17:03,455 --> 00:17:04,922
Let's try it.
108
00:17:06,725 --> 00:17:08,488
One and two...
109
00:17:28,047 --> 00:17:29,674
Is that cIear?
110
00:17:41,627 --> 00:17:44,061
Here we go.
One and two...
111
00:17:50,069 --> 00:17:51,559
Arm up!
112
00:17:54,673 --> 00:17:56,698
Stay with it!
113
00:18:02,381 --> 00:18:04,212
So-so.
114
00:18:04,750 --> 00:18:06,809
The end was a IittIe weak.
115
00:18:07,753 --> 00:18:10,449
Where's the head go?
116
00:18:11,290 --> 00:18:13,588
The head goes there
and then front.
117
00:18:21,934 --> 00:18:23,367
Arm up!
118
00:18:23,569 --> 00:18:25,400
Stay with it!
119
00:18:31,243 --> 00:18:33,302
What a mess.
No offense.
120
00:18:36,648 --> 00:18:38,343
No offense.
121
00:18:42,087 --> 00:18:43,384
What a disaster!
122
00:18:43,922 --> 00:18:45,389
Ready?
123
00:19:06,478 --> 00:19:10,209
AII right.
Is that aII cIear?
124
00:19:10,415 --> 00:19:11,814
The head.
125
00:19:14,019 --> 00:19:16,510
Let's take the Iast two phrases.
126
00:19:16,722 --> 00:19:18,212
From the arm up?
127
00:19:28,467 --> 00:19:30,025
That's a IittIe better.
128
00:19:34,773 --> 00:19:37,003
Let's do this one.
129
00:19:46,885 --> 00:19:51,083
But suspend it here.
Don't just faII into it.
130
00:19:52,357 --> 00:19:54,985
ReaIIy suspend it there.
131
00:19:56,094 --> 00:19:59,325
The head goes side
and then front.
132
00:19:59,531 --> 00:20:03,058
- The arm up and out?
- Yes.
133
00:20:03,268 --> 00:20:05,259
- Starting to which side?
- That side.
134
00:20:05,470 --> 00:20:07,438
- How many times?
- Four.
135
00:20:16,381 --> 00:20:17,905
Better!
136
00:20:23,989 --> 00:20:26,048
Let your body faII.
137
00:20:29,061 --> 00:20:30,688
Lift up!
138
00:20:33,465 --> 00:20:35,092
Down!
139
00:20:35,567 --> 00:20:38,058
Stretch everything!
Your head!
140
00:20:38,770 --> 00:20:42,900
As Vicente Escudero used to say,
do your IeveI best.
141
00:20:43,108 --> 00:20:44,234
Once more?
142
00:20:44,509 --> 00:20:46,602
I'II watch.
143
00:20:46,812 --> 00:20:48,973
Do we move the wrist?
144
00:20:49,381 --> 00:20:52,077
One thing.
Wait a beat here.
145
00:20:52,284 --> 00:20:55,811
HoId it, hoId it,
and then draw out the faII.
146
00:21:02,828 --> 00:21:04,295
Good!
147
00:21:07,699 --> 00:21:09,030
Suspend here!
148
00:21:16,041 --> 00:21:17,668
Good.
149
00:21:17,876 --> 00:21:22,074
Don't worry about it.
150
00:21:22,614 --> 00:21:24,639
Let's go on the diagonaI.
151
00:21:26,618 --> 00:21:28,552
Give me the rhythm.
152
00:21:44,569 --> 00:21:50,633
Don't get ahead of yourseIf at the end.
HoId it together.
153
00:21:50,842 --> 00:21:54,505
One at a time
on the diagonaI,
154
00:21:54,713 --> 00:21:57,375
and the rest of you
keep the rhythm.
155
00:22:41,760 --> 00:22:43,387
Don't Iook down!
156
00:22:46,565 --> 00:22:48,829
Don't raise your eyebrows!
157
00:22:51,203 --> 00:22:53,330
A IittIe more!
158
00:22:53,538 --> 00:22:55,631
Lift up, Lario!
159
00:22:59,177 --> 00:23:00,974
Good.
160
00:23:01,179 --> 00:23:03,511
Are you warmed up now?
161
00:23:04,483 --> 00:23:08,249
Then Iet's change
and start the rehearsaI.
162
00:23:08,453 --> 00:23:11,115
- FuII dress rehearsaI?
- Yes, costumes and everything.
163
00:23:11,323 --> 00:23:13,154
We're done?
164
00:23:39,684 --> 00:23:41,982
- Where have you come from?
- BoIIuIIo.
165
00:23:42,187 --> 00:23:44,155
- What have you brought me?
- Five duros.
166
00:23:44,356 --> 00:23:47,757
Scratch here and here,
and this is yours!
167
00:23:51,096 --> 00:23:52,927
My God.
168
00:23:53,498 --> 00:23:56,592
- How's my bun Iook?
- AwfuI.
169
00:23:59,371 --> 00:24:01,737
I can't stand these shoes.
170
00:24:02,140 --> 00:24:04,665
I think they're shrinking.
- You're sweating!
171
00:24:04,876 --> 00:24:08,141
Of course -
with good reason!
172
00:24:08,880 --> 00:24:10,575
And we're not done yet!
173
00:24:13,718 --> 00:24:15,549
Oh, my feet!
174
00:24:16,455 --> 00:24:18,218
These shoes!
175
00:24:19,124 --> 00:24:21,285
Are they new?
176
00:24:22,327 --> 00:24:25,421
They've just
aIways bothered me.
177
00:24:32,103 --> 00:24:35,334
- What's the matter?
- I'm reaI nervous.
178
00:24:35,540 --> 00:24:38,202
- About what?
- You think it'II go weII?
179
00:24:38,410 --> 00:24:41,504
Of course.
Things aIways work out.
180
00:24:41,713 --> 00:24:45,376
Antonio was nervous too,
but we got the step right.
181
00:24:48,587 --> 00:24:51,317
You're doing great.
No probIem with the knee?
182
00:24:51,523 --> 00:24:55,084
It hasn't bothered me
for the Iongest time.
183
00:24:55,594 --> 00:24:58,461
You scared me the other day
during the fight.
184
00:24:58,663 --> 00:25:01,928
It aIways cracks
right at that moment.
185
00:25:02,300 --> 00:25:04,359
I've gotten used to it.
186
00:25:05,670 --> 00:25:08,070
I'm used to that sound.
187
00:25:09,474 --> 00:25:11,203
The knives.
188
00:25:15,714 --> 00:25:17,443
Let me see another one.
189
00:25:19,818 --> 00:25:22,548
No, I'II keep this one.
190
00:25:23,522 --> 00:25:25,387
Juan, here.
191
00:25:26,191 --> 00:25:29,649
- Which is mine?
- One of them sticks.
192
00:25:31,129 --> 00:25:33,757
Give me a hand.
193
00:25:40,772 --> 00:25:43,707
Turn it over.
That's good.
194
00:25:46,344 --> 00:25:48,938
- Want a pin?
- No, not right now.
195
00:26:17,676 --> 00:26:20,645
WiII you heIp me?
Then I'II heIp you.
196
00:26:38,897 --> 00:26:41,161
WiII you zip me up?
197
00:26:49,074 --> 00:26:50,598
Good Iuck, Iadies.
198
00:26:50,809 --> 00:26:53,437
- Same to you.
- We'II need it!
199
00:27:51,803 --> 00:27:54,897
Everyone, pIease.
200
00:27:55,106 --> 00:28:00,169
Sit in the spot
you'II be entering from,
201
00:28:00,378 --> 00:28:05,748
so no one crosses in back
except those who have to.
202
00:28:06,284 --> 00:28:09,811
I'm not stopping
for any reason.
203
00:28:10,021 --> 00:28:12,751
AII the way through,
no matter what happens.
204
00:28:12,957 --> 00:28:16,757
DanieI, pass out
the knives and everything.
205
00:28:35,580 --> 00:28:37,343
You have your knife?
206
00:28:38,450 --> 00:28:40,350
What about this one?
207
00:28:40,552 --> 00:28:42,520
Give it to José Luis.
208
00:28:43,988 --> 00:28:45,455
Ready, PiIar?
209
00:28:59,704 --> 00:29:01,569
Music, pIease, Paco.
210
00:32:02,620 --> 00:32:03,587
l do.
211
00:32:05,990 --> 00:32:07,389
l do.
212
00:33:06,684 --> 00:33:11,747
My baby sleeps
213
00:33:13,458 --> 00:33:18,395
My baby is still
214
00:33:20,031 --> 00:33:24,559
His cradle's made of steel
215
00:33:25,036 --> 00:33:31,600
His quilt of fine cambric
216
00:33:33,811 --> 00:33:38,271
Hush, my child
217
00:33:46,190 --> 00:33:50,991
Ay, the stallion
218
00:33:51,195 --> 00:33:57,031
That wouldn't drink of the water
219
00:35:00,198 --> 00:35:03,725
on't come here
220
00:35:03,935 --> 00:35:09,271
o off to the mountain
221
00:35:11,209 --> 00:35:14,975
Through the gray valleys
222
00:35:15,713 --> 00:35:21,709
Where the mare stands
223
00:35:25,456 --> 00:35:30,484
My baby is sleeping
224
00:35:31,762 --> 00:35:37,257
My baby is resting
225
00:35:39,270 --> 00:35:42,637
Sleep, my little carnation
226
00:35:42,840 --> 00:35:49,803
For the horse won't drink
227
00:35:52,416 --> 00:35:55,943
Sleep, my rose
228
00:35:56,587 --> 00:36:03,925
For the horse
is beginning to weep
229
00:46:53,210 --> 00:46:59,240
Let the bride awaken
230
00:47:08,025 --> 00:47:14,726
With love's tender
green bough in flower
231
00:47:22,906 --> 00:47:28,071
Let the singers
make their rounds
232
00:47:28,679 --> 00:47:34,481
And hang a garland
from every balcony
233
00:47:47,431 --> 00:47:52,801
Let the bride awaken
234
00:47:59,209 --> 00:48:05,079
On the wedding morn
235
00:50:22,886 --> 00:50:28,222
ln a green field
l spread my kerchief
236
00:50:32,596 --> 00:50:38,034
Three roses fell
like three bright stars
237
00:50:41,705 --> 00:50:46,836
My princess's carriage
has cost me a fortune
238
00:50:47,044 --> 00:50:52,573
To carry the couple
on their way to wed
239
00:51:00,557 --> 00:51:03,287
Arise
240
00:51:03,493 --> 00:51:05,427
Sleep no more
241
00:51:10,634 --> 00:51:12,966
For the early morning
242
00:51:13,170 --> 00:51:15,331
Will see you wed
243
00:51:20,577 --> 00:51:23,068
Long Iive the bride and groom!
244
00:51:23,280 --> 00:51:25,373
Long Iive Iove!
245
00:51:41,798 --> 00:51:44,961
Black ribbon, black tresses
246
00:51:45,168 --> 00:51:48,763
Like those
of that dark-skinned maiden
247
00:51:51,675 --> 00:51:54,371
Whose jealous ways
248
00:51:54,578 --> 00:51:58,036
rained the blood
from my veins
249
00:51:58,582 --> 00:52:03,076
Your brim holds the tremors
250
00:52:03,954 --> 00:52:08,323
Of a luckless lass
251
00:52:09,526 --> 00:52:13,121
Who cries from heartbreak
252
00:52:13,330 --> 00:52:16,163
ln the light of the moon
253
00:52:19,836 --> 00:52:23,033
ln the light of the moon
254
00:52:23,406 --> 00:52:26,341
My hat, oh my hat
255
00:52:27,210 --> 00:52:30,373
You are a font of grace
256
00:52:30,580 --> 00:52:34,676
And you display
a matador's pomp
257
00:52:34,885 --> 00:52:37,319
When l take you
to the bullfights
258
00:52:37,521 --> 00:52:41,082
l love you
because on your brim
259
00:52:41,291 --> 00:52:44,749
Oh hat of my heart's bliss
260
00:52:44,961 --> 00:52:48,397
You bear, gracefully embroidered
261
00:52:48,598 --> 00:52:51,931
A woman's kiss
262
00:52:59,743 --> 00:53:03,076
You have such a set to you
263
00:53:03,280 --> 00:53:06,181
There is in you
such lordliness
264
00:53:06,917 --> 00:53:09,852
You are king
among the carriages
265
00:53:10,053 --> 00:53:13,853
That parade in honor of
Our Lady of the Morning ew
266
00:53:14,057 --> 00:53:18,994
All around your elegant brim
267
00:53:19,196 --> 00:53:23,462
Still flutter the woeful moans
268
00:53:24,568 --> 00:53:28,060
Left by tender promises
269
00:53:28,271 --> 00:53:31,069
Swept away by the wind
270
00:53:49,125 --> 00:53:52,026
When l take you
to the bullfights
271
00:53:52,229 --> 00:53:55,858
l love you
because on your brim
272
00:53:56,066 --> 00:53:59,433
Oh hat of my heart's bliss
273
00:53:59,636 --> 00:54:02,867
You bear, gracefully embroidered
274
00:54:03,073 --> 00:54:05,906
A woman's kiss
275
00:55:27,791 --> 00:55:29,315
Let's hear it for Iove!
276
00:55:33,129 --> 00:55:35,927
The lovers sang
The water flowed on
277
00:55:36,132 --> 00:55:37,963
And the wedding approached
278
00:55:38,168 --> 00:55:39,795
Let the frost sparkle
279
00:55:40,003 --> 00:55:42,699
And the bitter almonds
be filled with honey
280
00:55:52,315 --> 00:55:54,476
Spread the tablecloths
281
00:55:54,684 --> 00:55:56,652
Make ready the wine
282
00:55:56,853 --> 00:56:01,085
For the groom's a dove
with his breast all aflame
283
00:56:01,291 --> 00:56:04,783
While the fields listen
for the murmur of spilled blood
284
00:56:05,962 --> 00:56:10,661
The wheel turned and turned
285
00:56:10,867 --> 00:56:12,994
The wheel turned
286
00:56:13,203 --> 00:56:15,433
And the water flowed on
287
01:08:58,400 --> 01:09:05,397
Let the bride awaken
288
01:09:13,249 --> 01:09:18,744
With love's tender
green bough in flower
289
01:09:29,965 --> 01:09:36,165
Let the singers
make their rounds
290
01:09:36,539 --> 01:09:43,707
And hang a garland
on every balcony
291
01:09:58,761 --> 01:10:05,166
Let the bride awaken
292
01:10:13,309 --> 01:10:19,373
On the wedding morn
293
01:11:40,996 --> 01:11:43,692
SubtitIes by JOHN GUDELJ
for SUBTEXT SUBTITLING
18772
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