Frida Kahlo (1907-54) lived life to the fullest. Never influenced by others, she always did things her own way. As an artist, a wife, a communist, a bisexual and a feminist, she influenced many people's lives in the tumultuous 30s and 40s. In her new movie, "Frida," director Julie Taymor (costumer of broadway's "The Lion King") attempts to follow Frida's life from her carefree days as a child in Mexico to her painful, premature death at age 47. Taymor is successful in portraying the trials and tribulations that haunted Frida her entire life, but not enough focus is placed on the talented woman's actual skills and paintings.At the beginning of the film, 18-year-old Frida becomes the victim of a trolley accident and is crippled for the duration of her life. After being bedridden for a month and having to wear a full body cast, Frida miraculously learns to walk again. Always passionate about art, she decides to pursue a career in painting with her family's blessing. It is obvious that Frida and her parents have a healthy relationship, and she can count on them for unconditional support and love.

Determined to become a fine artist, Frida asks the respected painter visiting her university, Diego Rivera, for input on her paintings. Soon a romantic relationship ensues, even though Diego is 20 years her senior, obese and an avid womanizer. With this knowledge, the 21-year-old Frida decides to accept his faults and marries Diego.

The turbulent relationship between Frida and Rivera is the main concentration of the movie. Scenes of infidelity on both their parts, with Rivera screwing women, Frida screwing men and Frida screwing women, overwhelm the screen. Nudity and intercourse are abundant in the film, showing Frida's sexual liberty and bold, unconventional persona. Even with all the sex and infidelity though, Frida and Rivera convey their true love for one another time and time again. Although they do divorce for one year, they get back together and spend the majority of their lives as husband and wife.

For years, Mexican born actress Salma Hayek ("Wild Wild West") has been trying to bring "Frida" to the big screen. She said she felt a deep connection with the artist, as they shared a similar upbringing and heritage, and thought it important to introduce the little-known story of this fascinating woman to the public. Hayek's love and devotion to Frida is apparent in her portrayal of the artist, and she is even successful in shedding her normal "Hollywood glam" attempt to resemble Frida with her skinny, but sturdy frame, dark features, raven black hair and characteristic solid connecting eyebrows.

Also, her outfits parallel Frida's traditional Mexican clothing with long, colorful dresses and exotic jewelry. Hayek's acting is not wonderful, but it is substantial for the film. She captures the pain and agony that Frida endured her entire life from emotional and physical troubles.

As Diego Rivera, Alfred Molina ("Chocolat") is exceptional. The audience develops a love-hate relationship with this controversial man, and scowls when he has frivolous sex with his models, yet also cheers when he gushes over the talent and and promise of Frida as an artist. Molina is perfect in his role, and the chemistry between him and Hayek is tender and believable.

Since Rivera was very heavy and towered over people and Frida was petite and thin, people called their marriage a union between an elephant and a dove. Molina and Hayek epitomize this statement, and they joke about it together in the movie as Rivera and Frida truly would. The actors realistically portray these two radical, complex artists.

Politics enter the film frequently because both Frida and Rivera were communists at a time of intense American nationalism. Their courage and dedication to the party are illustrated when they invite Leon Trotsky (Geoffrey Rush) to their house to hide. Another example comes when Rivera refuses to remove Lenin from his mural in New York, resulting in Nelson Rockefeller (Edward Norton) demolishing the masterpiece. Throughout the film, there are numerous examples of the risks the two took to remain loyal to their cause.

"Frida" is a beautiful movie with fine acting, creative cinematography and an enticing soundtrack, but it is lacking a focus on Frida Kahlo's artwork itself and her relation with her work. Periodically, throughout the film, there are glimpses of Frida working in her studio and the results of her paintings, but they are scarce. At times, images of Frida's paintings do weave in and out of the film, producing an eerie, mystical effect but her actual work was not sufficiently explored. Her harsh, bright paintings filled with Mexican cultural influences were a mixture of realism and symbolism that reflected many aspects of her life, but this is not sufficiently explored in the movie. She constantly drew self-portraits and female-related paintings that had "graphic anatomical references" (www.encyclopedia.com/html/k/kahlo), which should have been a central theme in the film, yet was forced to the rear.

One of the most powerful scenes in the film does incorporate her artwork and her attachment and affection for it. In 1953, soon before her death, Frida's art is displayed in her homeland of Mexico for the first time. This had been her dream, yet because she is so ill, she cannot go. Of course, Frida comes up with a way, proving once again that nothing, including sickness, is going to keep her from her desires and goals.

Anyone interested in a decent biographical film on an extraordinary woman and artist should see this movie. It is aesthetically pleasing and presents competent acting. There is much to be learned from Frida in terms of living an uncompromising existence true to political, artistic and sexual beliefs.