Manjardolla. the gypsy leader, is a fiery character who is forced to accept an arranged marriage to Esmeralda. Despite two other admirers fighting for his attention, he starts to fall in love with his new wife.
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Not much of a plot here, but the film's Pre-Raphaelite echoes, both in composing female beauty (but with no kitsch meets the avant-garde of the original movement – the realism of photography avoids and refreshes that) and in treating the space – always closed, bounded, encircled, like a pre-modern universe, a pre-Raphael repudiation of open infinite perspective (no vast scattered Ford skies in sight, though the film