Abstract
The Spanish biopics Locura de amor (Orduña, 1948) and Juana la Loca (Aranda, 2001) are here examined and compared in terms of their respective and paradoxical gender politics. The former tries to pay tribute to the Spanish national virtues advocated by the Franco dictatorship. By emplotting the story in a melodrama, though, this film is open to a feminist interpretation that subverts the notional intention of all those involved in the project, particularly in regard to the role of women. The latter presents its female characters as misunderstood 'liberated' women. However, the reduction, in this film, of both women (the queen and her antagonist, the Moorish dancer) to sexually insatiable female bodies, far from challenging or subverting patriarchal views, confirms them.
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