Because I usually dislike biopics, I’m astonished by my positive reaction to Frida, a film about fiery Mexican artist Frida Kahlo. Although Salma Hayek delivers a brilliant performance in the title role, it’s the movie's unique look that evoked my sense of wonder. Using her exceptional talent for creating stunning images, director Julie Taymor has put together a cinematic experience with the power to match her subject’s colorful life.

Mexico City in the 20s and 30s – an exciting time for artists. The great revolutionary muralist Diego Rivera (Alfred Molina) held court, and one of his subjects was an outspoken young girl who later married him -- and whose fame eventually overshadowed his own. Frida zeroes in on the tempestuous relationship between these two renowned painters. Each indulged in various affairs. Diego even seduced Frida’s sister. And Frida’s brief fling with Leon Trotsky (Geoffrey Rush) surprised everyone. Through it all, Diego and Frida remained concerned about each other and, in their own strange way, loyal.

Hayek (Desperado) deserves credit for her relentless determination to bring Frida Kahlo to life on the big screen. She worked tirelessly for several years on this project – one that also interested Madonna and Jennifer Lopez. And she puts heart and soul into her portrayal of the iconic artist. Through the magic of make-up and costumes, the gorgeous Hayek manages to resemble Kahlo – unibrow and all. But, even more important is her impressive projection of the woman’s passion, intelligence, and ability to endure constant physical pain.

Molina (Chocolat) commands the screen as the larger-than-life Rivera – a man Taymor compares with King Kong. I can see why. Molina’s Rivera is a bear of a guy – with needs as immense as his talent. His audacious love of women comes across convincingly in practically every scene.

Turning now to the amazing visuals in Frida, here are some unforgettable ones: shimmering gold dust floating all around an injured Frida during a horrific bus accident; Frida’s famous paintings slowly coming to life; whimsical montages of New York and Paris used as transitions; an overview of bed-ridden Frida in a vibrant red gown. I continue to be bowled over by filmmaker Taymor’s (Titus) exquisite blending of color, style, and scope. More, please.

The only bad news about this fine movie involves Antonio Banderas (Original Sin), Ashley Judd (High Crimes), Valeria Golino (Respiro), and Edward Norton (Red Dragon). Fans may be disappointed to discover they’re only on camera for a few minutes. Golino portrays Rivera's long-suffering ex. Banderas and Judd play Marxist artists Tina Modotti and David Siqueiros. Norton is John D. Rockefeller, who commissioned Rivera to do a mural, then tore it down. Still, each actor shines for the little time they’re seen. Golino projects genuine unhappiness; Judd and Hayek perform a sexy tango in an early scene (one that hints at Frida’s bi-sexual tendencies); Banderas looks as handsome as ever; and Norton makes a believable capitalist millionaire.

Sex, politics, fame, and art. Frida has it all. Bueno!

(Released by Miramax and rated "R" for sexuality, nudity, and language.)