El pisito (1959)

Calificación de los usuarios:

7.5/10   

Directors:

Marco Ferreri
Isidoro M. Ferry

Escritores:

Rafael Azcona (novel)
Rafael Azcona (screenplay)

Fecha de Lanzamiento:

15 junio 1959 (Spain)

Género:

Comedia

Plot:

Rodolfo and Petrita each live in separate quarters in dilapidated Madrid, while looking to have a little apartment (or "pisito"...

Plot Keywords:

Black Comedy | Housing Crisis | Housing | Based On Novel

Premios:

2 wins

Comentarios de los usuarios:

against Franco we used to live better

Reparto

Mary Carrillo	...	Petrita
José Luis López Vázquez	...	Rodolfo
Concha López Silva	...	Doña Martina
Ángel Álvarez	...	Sáenz
María Luisa Ponte
Andrea Moro	...	Mari Cruz
Gregorio Saugar	...	Don Manuel
Celia Conde	...	Mery
José Cordero 'El Bombonero'	...	Dimas
listado alfabético del resto del reparto:
Rafael Azcona
Tiburcio Cámara	...	El chico de los recados
Manuel de Agustina	...	Paco (as Manuel Agustina)
Marco Ferreri	...	El casero
Carlos Saura

Duración:

87 min

País:

Spain

Idioma:

Español

Color:

Negro y Blanco

Sonido:

Mono

Clasificación:

Spain:T

Locaciones de Filmación:

Madrid, Spain

Compañía:

Documento Films

against Franco we used to live better

Obviously, the sarcastic statement made by Vazquez Montalban twenty years ago is by no means true, but when comparing recent Spanish film productions to some of the oppositional masterpieces shot during the 50's and 60's one feels tempted to believe it.

El Pisito is a caustic criticism on the hardness of lower classes everyday reality in the fifties francoist society. It rawly portrays the infrahuman conditions in which people were forced to live (whole families inhabiting a single room of a crowded apartment) and the perverse struggle getting by in such conditions was, but, instead of imitating the Italian neorealist melodramatic mood to search the compassion and solidarity of the spectator, the material is presented from satirical perspective based on the Spanish theatrical style of "esperpento" (plays that mocks national traditions through the employment of emphasized grotesque features). This way, the choral protagonist of the film (there's a predominance of long cuts framing groups of people, sometimes carrying out simultaneous actions)is shown closer to an animal than a human being in a chaotic urban jungle where everything is permitted, causing distancing in the audience.

For this task, all the actors are just great, creating great doses of black humour; but, avobe all, Jose Luis Lopez Vazquez proves to be one of the best actors in Spanish cinema, brilliantly performing that henpecked boyfriend always conducted by someone else's will like a poor puppet.

In sum, this movie is a must see for anyone interested in Spanish cinema and culture (mandatory for fans of Alex de la Iglesia's oubvre) and lovers of intelligent and bitting humour.