Synopsis
Julián, a middle-aged single doctor, is reunited with Pablo, a childhood friend who has just married Elena, a beautiful young woman.
Peppermint Frappé
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Alternative Titles
Ideia Fixa, Ston katiforo tou pathous, Den giftgrønne drink, Ментовка с лед, Pfefferminz Frappe, Peppermint Frappé, Borsmenta koktél, Frappè alla menta, 얼음에 얼린 박하, Mrożony peppermint, Мятный коктейль со льдом, 薄荷刨冰
Releases by Date
Theatrical
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Spain
05 Nov 1967
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USA
Releases by Country
Spain
09 Oct 1967
- Theatrical
USA
05 Nov 1967
- Theatrical
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Carlos Saura’s “Peppermint Frappe” plays like the love child of Alfred Hitchcock’s “Vertigo” and every film Luis Buñuel ever made. This is a film about the fetishizing of women. There are moments in “Peppermint Frappe” that you look away in horror and disgust, but only because it is true.
I do not know exactly what Carlos Saura wants us to come away with after watching “Peppermint Frappe”. It has the structure of a psychological thriller and unfolds like one, yet there is something deeper at work. This is a title I have to really think about. I want to unlock its secrets.
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I’m sorry, but if you have a pitch-red bedroom and bathroom, you gotta be up to nothin’ good.
I googled peppermint frappe and it said this
Peppermint Frappé
1oz absinthe or cognac.
3/4oz mint liqueur.
Garnish with mint.
Mix. -
Sauras late 60s allegory on objectification, fetishism, male obsession and the cynically detached anti-romanticism of fascism - so, hidden beneath the obvious psychological theme park, also a work on spanish politics and society of those Franco years.
Peppermint Frappe is a chess game played on the drafting table, but this "creme de menthe" makes us as drunk as existentially trapped spaniards, and gives me decent nostalgia vibes - clever originality always survives the calculated texture of the sophisticated european arthouse fabric of the last century.
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Carlos Saura's first collaboration with Geraldine Chaplin, the Hitchcock-referencing, Bunuel-dedicated Peppermint Frappe is often read as an anti-fascist allegory. Surely it is that; the film also plays as a sharp dissection of power-dynamics, fetish and objectification. Deftly manages both humor and gravity, pulp and verisimilitude, titillation and reproach, delivering a variety of emotional and stylistic modes that always feel wholly of a piece.
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a phenomenal study on toxic masculinity. the exploitation of women through media and capitalism and how it affects the perception that men have upon us - but also the perception that we have about ourselves.
I'm fascinated to the point of being completely speechless, so I'm just gonna leave carlos saura's statement about the film here:"I realized that the Spanish bourgeoisie – and by extension that of the world, including the middle class – has a series of fixed images: a medieval notion, concerning feelings, primarily held by men towards women. It is that notion of woman as object, which fashion magazines show in a very clear way… In Peppermint Frappe it’s somewhat clearer because it contains the myth of the woman-object held by the traditional man with his religious notions and his particular education. He [Julian] can be a terrific doctor, but it doesn’t let him get away from his concept of the woman-object… We all know Julian."
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Peppermint Frappe is a very interesting little movie from Carlos Saura. Released under the oppressive, nationalist reign of Spanish caudillo Francisco Franco, the film examines Spain’s fascination with Western culture outside of the country at the time due to the isolationist repression being forced on the population, using only a few simple motifs and a double shot of famed American actress Geraldine Chaplin. Dedicated to Luis Buñuel, we’re hit with a healthy dose of stylized surrealism that underlies the central plot, giving the film a very uncanny and oddball aesthetic. There is also the subject of female fetishization and objectification being touched on here. Our central character Julián is quite the chauvinist, as he fawns over his best friend’s wife and…
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“You ever thought of dying your hair?”
There are lots of Vertigo-inspired films but only one Vertigo. Carlos Saura’s Peppermint Frappe is merely an imitation. Mousy physician Julian (Jose Luis Lopez Vazquez) becomes infatuated by the much younger wife, Elena (Geraldine Chaplin), of his childhood friend, Pablo (Alfredo Mayo). Then he begins trying to turn his nurse, Ana (also Chaplin), into Elena. Does he notice that the two women look exactly alike except for hair color? Does Ana’s complicity in what follows make sense? Peppermint Frappe kept reminding me of other films from this period, including The Servant, Blow-Up, Belle du Jour, and Mississippi Mermaid, until I realized how inferior it is to any of those films. Suara had my…
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The courage it takes to make a film so openly subversive during the rule of an openly repressive government is hard to fathom. Yet, that is what Carlos Saura did with Peppermint Frappe, going so far as to dedicate his work to the exiled Luis Bunuel. Selected as part of the now infamous 1968 Cannes Film Festival before its eventual cancellation, Peppermint Frappe is now seen as one of the films that would have screened there that demonstrated “cinema in rebellion” of the time. As much as Saura pays homage to Bunuel in exploring the nature of Francoism with slight surrealist touches as well as considerable allegory, it is a film laced with disdain. Julian (Jose Luis…
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Carlos Saura's Tips for Seduction:
1) Get her drunk on crème de menthe.
2) Show her your creepy vision journal filled with cutouts from women's fashion magazines.
3) Make her work out on your rowing machine. -
as a beautiful young ingenue, i am constantly on the lookout for older men trying to VERTIGO me, so, sorry to geraldine chaplin but i cannot relate to this struggle.
every time i watch one of saura's films i feel like i need to read a history book about franco era spain. taking recommendations & ordering creme de menthe for pickup.
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The patriarchy is fascism fascism is the patriarchy etc etc anyway those peppermint frappes looked hella delicious
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Hmm mixed on this. The problem with a critique on fascism that’s neither scary nor funny is that it just kinda leaves you stuck with a creep for an hour and a half... which is boring! Im not sure where this lost me but it did about halfway when I realized it wouldn’t get any more ‘thrilling’ than an older man making uncouth advances towards his best friend’s wife (rude). Appreciated Geraldine Chaplin who does a great job playing dual roles of brown hair and blonde hair. I also liked her wicked taunting, probably the only energy in the film.
I do appreciate this as a political film, it’s an intriguing concept but I’m sure it’s more meaningful to those…
