echanove Reviews

The Richest Girl in the World (1934)

Precode in the vain of the 'screwballs'

[6/10 · 11 June 2023]

A light comedy, in the vein of what would later be 'screwballs', with some specific detail that affects the outcome, which only a few years later, with the approval of the Hays Code, would have been censored.

Although it is a story that we have seen more times since then, the one about the rich girl who, in order to be wanted for herself, pretends to be something else, giving rise to a series of misunderstandings, is seen quite pleasantly, thanks to the good interpretations.

Despite the predictability of the plot and the fact that the characters lack some substance, it contains scenes with a certain magic every time Miriam Hopkins and Joel McCrea are together. The couple would later make four more films together, to take advantage of that chemistry.

Un día volveré (1993)

The anarchist and the judge

[8/10 · 11 June 2023]

This forgotten Spanish production was seen very little, but it doesn't deserve that void.

Efficiently directed by Francesc Betriu, also unfairly forgotten for me, it adapts the homonymous novel by Juan Marsé, about the return home in 1959, after spending ten years in prison, of the ex-boxer and anarchist guerrilla fighter Jan (Nacho Martínez), who would have ended up mutating into a bank robber in Barcelona in the early post-war years.

During Jan's absence, his brother's widow (Charo López) has become a prostitute to earn a living, while his nephew (Achero Mañas) has grown up longing for his return. His former anarchist companions have taken different paths, some persisting in their ideas and others joining the regime to suck on the boat, while in the Gracia and Guinardó neighborhoods where he spent his youth many things have changed, although everything remains the same. And although for the neighborhood it is a myth. He just wants to be left alone and starts working as a bodyguard for an obscure and wealthy military judge (Eusebio Poncela) who distinguished himself for his ferocity during the years of repression but who, after suffering a car accident, has serious problems with amnesia and mental health.

A plot and setting very much of Marsé's, already present in other of his novels made into movies such as "If they tell you I fell" (Vicente Aranda, 1989) or "El Embrujo de Shanghai" (Fernando Trueba, 2002) but here it moves in the time at the threshold of the 60s and that has more possibilities thanks to the greater length and extension of the six chapters of a miniseries. And the result is very good thanks to the artistic direction of Gil Parrondo, the great work of Betriu reflecting the world of the writer, and a cast in which they are all at a high level.

There is also a juvenile subplot, perfectly integrated into the plot, of whoever carries out the narration. And in which there is an explicit homage to Alan Ladd and "Shane" (George Stevens, 1953) and to the world of the American western, also present on the soundtrack.

A soundtrack, which also includes, among others, songs by Nat King Cole or Paul Anka ("Ansiedad", "Perfidia", "Diana"), the sound that since the country's relative openness to the outside world and the installation of American bases, began to arrive from the other side of the Atlantic.

The recreation of environments by Gil Parrondo -squalid, opulent, more shabby- is prodigious and the truth is that the series is seen non-stop, one chapter after another, with an immense Charo López, a Nacho Martínez whose apparent inexpressiveness He fits the enigma of his character like a glove and a Eusebio Poncela who always more than meets the eye when it comes to bringing forward tortured and somewhat degenerate types, so drunk and returned from everything as prisoners of the greatest anxieties of the soul.

In addition, Assumpta Serna (better than in many of his other films), the great Carlos Lucena, or Juanjo Puigcorbé (this cheeky and cynical man always does well!!) along with others who are not so well known to me are also there. Or as saints of my devotion as Lluis Homar, Ramón Madaula, Ulises Dumont, Martxelo Rubio..., but, I insist, all magnificent. Which is surely also due to the wonderful work of Betriu in directing actors and how careful the entire series must have been from the pre-production phase, as was the case on spanish television at the time.

Manicomio (1954)

Brilliant black comedy

[8/10 · 28 May 2023]

Brilliant directorial debut by the great Fernando Fernán Gómez in collaboration with Luis María Delgado through this crazy black comedy in which, along with some deaths, there are plenty of insane crazy people.

Almost unknown until recently, when the Spanish Film Library restored it and recovered it on the occasion of the centenary of the birth of Fernando, the film anticipates many of the constants of what will later be his best cinema in acid major dramas such as "El Mundo Sigue" (1963) or "El Extraño Viaje" (1964). Although without ever abandoning that tone of comedy so typical of the time in Spain and which is also very present in his filmography, drawing heavily on comedians such as Tono, Mihura, Jardiel or Ramón Gómez de la Serna himself.

The script, half signed by Fernando and Francisco Tomás Comes, adapts with great skill four short stories by Edgar Allan Poe ("The method of Doctor Brea and Professor Pluma", the main one, and the framework for the other three, starring Fernando), Ramón Gómez de la Serna ("La Mona de Imitation"), and the Russian writers Kuprin ("A mistake") and Andréiev ("The crazy doctor"). Without revealing details of the plot, we will say that all of them, in addition to having in common the theme of relationships, touch on the issue of mental health and highlight how thin the line is that separates normality from madness. So often things are not as they seem.

Surprisingly modern and bold for a time when historical dramas or so-called 'white phone comedies' abounded in Spanish cinema, the film is a more than recommendable delight in which black humor invades everything through out these four perfectly intertwined and interrelated stories. Until everything reaches its peak in the delirious sequence of a dinner (in which we will be able to see, among others, a hilarious and very young Camllo José Cela, an acclaimed spanish writer who, decades later, received the Nobel Prize), and which will be followed by a no less crazy epilogue.

Among the actors, Fernando is accompanied by performers as effective as Elvira Quintillá, Antonio Vico, Susana Canales, José María Ladó, Vicente Parra, Margarita Lozano and a very young María Asquerino, among many others such as the journalist and writer Alfredo Marquerie (who plays the man who believes himself to be an olive) or the aforementioned Cela, without anyone from the cast ever being out of tune.

As for the staging, which does not creak at any time and which includes very varied locations in Madrid, it is noteworthy that Fernando breaks the so-called 'fourth wall' on two occasions when talking to the audience. Likewise, the film displays a certain expressionist tone throughout the final part after dinner at the asylum thanks to the use of the sets from the film "Aeropuertp" (1953), a modest drama of crossed stories that Delgado was also filming at the time.

We will never be able to know if the movie had a certain allegorical intention related to the Franco regime, although it seems that Fernando always denied that extreme.

Anyway, it turns out that Fernando's 'first feature' had been this little movie to discover, and that it barely had distribution in its day, and hardly anyone had heard about it.

And it is very grateful that the Film Library has carried out its recovery.

The Misery Brothers (1995)

A poor and shameless belch

[3/10 · 4 May 2023]

A rude, sexist and stupid movie like few others, which doesn't mean that one can also laugh a lot with it, due to its crazy comedy. In fact, its first few minutes, in which we witness a hilarious parody of The Godfather, by Abe Vigoda, the unforgettable Tesio from the Francis Ford Coppola saga, are very promising. We will also see in that prologue a funny parody of JFK's love story with Marilyn Monroe. And even another one from Forest Gump. The problem is that once, after this prologue, the nice credits appear and, by the way, shortly Vigoda disappear of screen, the film slips without shame or subtlety down the slope of coarse salt, the plot incoherence and the denigrating display of stunning women, but almost always presented like stupid And the presence of people like Pat Morita or Lou Ferrigno doesn't make it much better. Not even the exuberance and good work of Debbe Dunning, nor some funny musical interludes it has, since the film soon becomes a bad mix of Dumb and Dumber (Peter and Bob Farrelly,1994) and Supervixens (Russ Meyer, 1975). Thus, for example, the entire final sequence of the trial, with the jury made up of playboy girls, is truly embarrassing. Sure, you do get a laugh sometimes, but sometimes it's not so much because of the gags themselves as because of how horrible they are. And it is that, as its own soundtrack makes clear when the word end appears, and it is something that should be thanked to its director for making things clear, the entire film is a misery and shameless belch.

Show Business (1944)

A minor musical from Cantor

[5/10 · 3 October 2022]

A clearly minor musical that nonetheless treasures the typical freshness of RKO productions of that time. Once again Cantor's peculiar comedy stands out, but also George Murphy's enthusiasm.

Along with them, the rest of the cast is quite unknown, highlighting the nice Joan Davis.

Although the story is quite simple and has been seen on the screen on many other occasions, this unpretentious film that mixes comedy and melodrama will appeal to all lovers of the musical or fans of Cantor.

In fact, the film is produced by him and is intended to be a self-tribute on the occasion of his 35-year career.

The Dead Don't Die (1975 TV Movie)

They Shoot Zombies, Don't They?

[6/10 · 4 February 2021]

This rather unknown '70s telefilm from the artisan Harrington can delight any non-demanding moviegoer thanks to the mix of genres and its sinister atmosphere. Set in the 30s, the film mixes gangster movies with classic terror in a plot that includes zombies, a sect that practices voodoo, the dance marathons typical of the Great Depression that one knows from movies like 'They Shoot Horses, Don't The?' (Sidney Pollack, 1969) and disturbing sequences in morgues, cemeteries and funeral homes. In addition to an execution in the electric chair at the beginning of the film.

To this set of morbid ingredients is added a cast led by George Halmiton, who plays a sailor obsessed with laundering the honor of his brother executed with capital punishment after being accused of murder, and which also includes Ray Milland, Linda Cristal. or Joan Blondell. All of them do their job with solvency in a film in which the mystery and creepy sensations remain until the end.

¿De qué se ríen las mujeres? (1997)

Spanish women current soul

[7/10 · 4 February 2021]

The debut in the direction of Joaquín Oristrell was this film that at the time of its premiere was so praised by the usual ass-kissers of always as reviled in low voice by many people in the little Spanish movie world in word of mouth, which is not so strange if It is taken into account that through the production company of that name (Boca a Boca) Oristrell has been an essential figure in Spanish cinema at the turn of the century, not only because of his activity as a screenwriter, but also because of his power within the industry.

That said, after seeing this film, more than 20 years after its premiere, one comes to the conclusion that it was unfairly treated, because it is a summer comedy that is as fresh irreverent, wild, provocative and desperate. And as funny as it is intelligent despite its astracane surface and its somewhat disconnected appearance. And in which a lot of tender moments are not lacking, along with an inquiry into the female soul, love, sex, the couple, loneliness, family and, ultimately, life. It is not just a comedy to laugh at, it also allows you to think at times. Or feel. And all, in a light way and in a comedy tone, which is how certain things come best.

The work of the main trio formed by Forqué, Ozores and Peña shines at a great height, not to mention people like Angel de Andrés López (the sequence of breakfast with the three sisters is, for me, anthological) or Juanjo Menéndez, in a role very different from those he had always played in the cinema until then.

And it goes without saying that when this film is compared with the comedies that in the past, as in those of the "Landismo", they tried to approach these themes (sex, the couple, the woman) from a light tone, the differences, to the margin of artistic results, they are a happy confirmation of how much that had already changed at the end of the 20th century, and for the better, Spanish society compared to the preceding decades.

Because also, although it sounds pretentious to say it, the film has a lot to do with the Spanish soul. And it constitutes an excellent sociological testimony of those already distant "happy years" in which it was filmed.

Games (1967)

Mortal games

[6/10 · 30 January 2021]

Curtis Harrington, a director as interesting as he is unknown who did his first work on the B series, tackles here a project with more budget and more pretensions that lets you see and makes you hang out but that does not go much further and is too predictable .

Reminiscent of movies like Les Diaboliques (Henri-Georges Clouzot, 1955) or Gaslight (George Cukor, 1944), the great asset of this psychological thriller is the presence and great acting on of Simón Signoret (who was in 1955 film), in addition to the beautiful photography and the adequate recreation of a morbid and somewhat perverse atmosphere that as the plot film progresses is becoming more oppressive.

The Cry Baby Killer (1958)

Nicholson and Rooney's wife

[6/10 · 4 January 2021]

Jack Nicholson made his debut on the big screen with this acceptable thriller from the series B, subsection youth and violence, produced by Roger Corman, in which he shares the cast with Carolyn Mitchell, a beautiful and young actress totally forgotten, who shortly after the end of filming would become nothing more and nothing less than the fourth wife of Mickey Rooney before passing away tragically.

Virtually the entire career of the director, Jus Addiss, was focused on television, and that is something that shows for good in the planning and staging of the film, with a sustained rhythm and without ups and downs. The youthful story of love, jealousy and violence in which Nicholson takes refuge in a small grocery store armed with a gun and with hostages is nothing to write home about and even focuses more on what happens around those hours than in the Nicholson himself, who in his performance already accurately outlines some of the grimaces of a patient with hemorrhoids that later made him famous. But the movie, I already said, is quite effective and has its charm, especially in the opening sequences in the dive where Mitchell and the badass thug for which she has left Nicholson (Brett Hasley) are whisteling sweet nothings surrounded of some other guys.

Without lacking from a sociological point of view, although seasoned with humor, the usual morality of the B-series movies of the time that deal with the subject of youth and delinquency, another of its assets is the elegant and beautiful presence as a secondary role of Lynn Cartwright, a lady who would later have a long career in projects of a different kind. Among the presences that one cannot fail to notice in the large casting there is also, although it does not even appear in the credits, the always friendly and usual characteristic of the Corman gang at that time, Bruno VeSota, a guy who always gives a consistent looking to the shots and that, as director, that same year he had done for the "The Brain Eaters". As with Corman everyone did everything, may be someone told him to stay and gave him a phrase so that the tape in its final section would not decay.

In the same way that in moments of tension, the soundtrack resorts to more sandunguero Latin jazz, in the vein of Gillespie's Latinbop, so that things do not go downhill. Those are the kind of things that are appreciated in this type of cinema.

The Brain Eaters (1958)

Not even a funny bad movie

[3/10 · 4 January 2021]

The problem with this modest by-product directed by the sympathetic characteristic Bruno Vesota is that, in addition to being quite confusing and poorly narrated (characters, plot), it is hardly restless. And that, despite the final fireworks, which leaves an open ending, it does not matter either. And it's not a problem of special effects or low budget.

Of course, the film is very representative of the psychosis that in those years existed in North American society due to the Cold War, which together with phenomena such as the well-known "Rosswell incident" impregnated not only the science fiction of series B of those years , but all the literature of that genre and, of course, Robert Heinlein work and the novel in which the movie is inspired.

Robert Heinlein, in In fact, the plot premise of this film has been later adapted, with different variants, to the cinema many times more, although I do not know if ever so awkwardly. In that sense, it is very striking how at certain times it uses a certain semi-documentary tone, in addition to the presence of numerous local political authorities and the state of Illinois in the script.

As a curious fact, it may be worth mentioning the presence in one of his first and rare appearances on the big screen aside from the feature films derived from the Star Trek series by Leonard Nimoy, the beloved Dr. Spock. Although it is barely seen, it is curiously the one that brings a conceptual air to the film with his dialogue lines, although it contributes very little.

And it is that the film does not even have those, curious, hilarious or disgusting elements for which those of its kind appear amusing us.

Curro Jiménez: El regreso de una leyenda: La gran jugada (1995) Season 1, Episode 7

What a pity...Don Algarrobo

[5/10 · 6 August 2019]

This fourth season of the adventures of Curro Jimenez - in reality, a sequel made more than fifteen years later by a private television - never shines like the three originals. It was, in my opinion, very burdened by dubbing and the transfer of filming to Uruguay (why has almost every chapter has to end in the seaside) despite the fact that most of the history continues to take place in Spain - and lacks the grace of the first three.

However, for its rhythm and plot this is one of the most interesting chapters of the season. But it has some unforgivable fault. And revealing of the even more unforgivable carelessness with which this new installment of the series was produced (and postproduced). Like the fact that neither El Algarrobo (Alvaro de Luna) nor Curro (Sancho Gracia) nor their host hide their identity and present it to their guests as "Don Algarrobo".

This would not be serious in any case and they are the kind of things that I do not like even on one of Martes y 13 or Terence Hill/Bud Spencer film. But here it is unforgivable and destroys the entire chapter. Although this is the most entertaining of the ones I've seen so far from the fourth and somewhat failed installment

Pasión en el mar (1956)

Not as good as La Venganza (Bardem, 1959) but with things in common

[6/10 · 29 June 2018]

A very curious and unknown coproduction between France and Spain, wi-th a lot of antropological setting and even some folclorical details but far away of the tipical folcloric spanish genre called españolada. Shooted by Pepe Aguayo in a beautiful fiftys Agfacolor cinematography and directed by Ruiz Castillo in a semidocumentary style, with a lot of scenes outdoors, in the beach and the sea, and sailing on a ship, may be this film is not as good as "La Venganza" (Juan Antonio Bardem, 1959), and of course it didn't gain its prestige and fame, remaining as an hidden little gem, but it also deals with the hard life of some workers (fishermen in this, as Bardem did with reapers) and their laboral explotaition. And includes a torrid triangle of love and passion around a woman (Pascal Roberts), and even a fire near the end, as well. Appealing and not insignificant

La duquesa de Benamejí (1949)

The duchess and the bandit

[7/10 · 3 January 2016]

This is a very interesting Spanish film of the late forties and deserves a look if you like period and adventure movies plenty of passion and melodrama. That kind of films you like despite of its ingenuity or definitely because of it.

The love affair between the duchess (Amparo Rivelles) and a legendary bandit (Jorge Mistral) settled in Sierra Morena and whom is secretly loved by a gypsy girl (also portrayed by Rivelles!) was also a big box office success at the time and it was a pity that Spanish film industry didn't follow the path revealed for this 'spanish western' to make a genre.

The landscape of Sierra Morena (as in American westerns) with its caves and mountains plays also an important role in the film, beautifully shoot-ed outdoors in black and white. Some sequences are specially remarkable, like the opening musical one, or another one where the duchess conquer the heart of the bandits with singing and Spanish folk song. The film begins with a certain mood of comedy, but then it finish tragically, and may be you can't help some tears if you are a little sensitive.

Based on a play of Manuel and Antonio Machado from the Republic era, the film has also some points in common with Goyescas (1942) in the plot and the female characters portrayed by the same actress. But as that one recreate a historical period and has a happy ending, this one goes right to your heart and the roots of melodrama.

María de la O (1959)

A gypsy western

[6/10 · 21 October 2015]

Probably the most representative film of those starred by Lola Flores in 50s, recommended if you are interested on Spanish folk music and culture, and specially on gypsy people.

The acting isn't very good (Lola never was an extraordinary actress, but she was always Her, what is enough) but there is a plot, odd situations, nice music, love and drama. Other trouble in my personal opinion is that the movie need a better script, and the love affair, for example, is not enough developed and solved.

A young rich man owner of a big country property is shooted and wounded when he goes for a ride with his horse. Rescued and treated by a group of gypsies he knows Maria de la O and they get in on together and he even promise her to marriage. They both have other friends pretending their love and...i'm not going to spoil you the film and tell you if there's a happy end or not. The only thing i can say is that its not a very Hollywood made one. So watch it!

Based in a Spanish folk song and with a previous version in 30s the movie is in many ways a western settled in Andalucía. Not with Indians but gypsies.

Todos eran culpables (1962)

Peñíscola is not Malibú

[4/10 · 21 October 2015]

León Klimovsky made in a Spain a lot of low budget films of all genres and among them some thrillers, like this customary crime story about a girl who dies during a party of rich and stupid youths in a mediterranean holidays town (Peñíscola) in Spain.

It's not the worst of his movies and at the beginning promises a lot, with some moments visually interesting, but then as the footage runs become rather mediocre.

Acting is not convincing and besides, though the film is intriguing and you have to remain watching until the final to know what happen to that girl, the story and even the seaside scenarios offered much more than the results showed. Insufficient dialog and a script with not enough deepness spoil the development of the plot too. Nor the resolution is brilliant.

Social critic, a film of young rebels on the pattern of James Dean, crime and detectives story. All this ways are involved but the achievements are poor, despite a correct editing and some sparks like the party sequence or some musical numbers outside of the plot.

But probably the worst of the film are it's moral pretensions, with a so notable actor as Luis Prendes declaiming ethical speeches that sound a little ridiculous.

El hombre que se quiso matar (1942)

"We are too much concerned about life and that's why we are unhappy"

[6/10 · 20 October 2015]

Based on a tale from Wenceslao Fernández Florez, an Spanish writer known by his peculiar sense of dark humor, this dark comedy was the first film made by the prolific Rafael Gil, one of the most representatives from Franco era.

A Very watchable moral fable because the story is funny and also invites you to think about life and society at the same time you laugh or smile. The only negative point is an acting too much theatrical in some of the secondary players and an anodyne direction.

The plot is about a man (Antonio Casal) with a lot of disgrace and affliction in his life, with no job, no girlfriend and no friends who decides to kill but fails in his attempt several times. But when he announces in public his suicide begins to feel free and with no social prejudices and as he changes, his life begin to change too.

Some people criticize the film because many points of the plot are not credible. It is necessary to consider that the purpose wasn't to develop a realistic plot.

In fact if you want to enjoy this film think you are going to watch, how could I say, a Marx Brothers movie but with a little more serious plot and a darker treatment !!

It's what you can also see in films like "El malvado carabel" (based in a Fernández Florez tale too). And a sense of dark humor very present in many other Spanish writers of the time like Mihura, Tono, and later in Azcona.

Suspiros de España (1939)

Paradoxes of a mythic title shot during a national tragedy

[5/10 · 20 October 2015]

This is a mythic title of Spanish folkloric cinema, directed by the responsible of the superb 'La Verbena de La Paloma', Benito Perojo, with two of that cast on the screen (Miguel Ligero and Roberto Rey) besides the starring of the likable copla singer Estrellita Castro.

In fact, the popular tune composed in 1903 that titled the movie has been considered for a long time (and probably is still nowadays) a sort of unofficial Spanish anthem. As it is known, one of the trouble of the official is that it lacks of lyrics. Well, 'Suspiros de España' neither had lyrics when the film was made, but they were written for it !! And since then, it has had at least two more !!

In addition to all this, the film was made during the Spanish Civil War by the Franco side and it is one of the handful of movies filmed at the UFA German studios, with German crew, during the nazi regime, as a part of Hitler's help to Franco during the war. There's a recent film by Fernando Trueba, La Niña de tus ojos (1998), about this odd episode of Spanish cinema.

So, you may think that the film has a lot of nazi or fascist ideology on it. No, it hasn't !! It's just a sentimental folk comedy (and by the way rather mediocre!) !And one of its big paradoxes is that the popular tune that Estrellita Castro performed with vocals here for the first time, and then has been performed by a lot of artists, became immediately later in the tune for the people that after the war went to exile !!

Well, all these things are involved with this film, but notwithstanding all this, it can be also considered in other ways: has it artistic quality ? Was it enjoyable?

I have to say that I've just watched it and it disappointed me in many aspects. There is a later version produced by Perojo and directed by Ramón Torrado, Suspiros de Triana (1955), that in my personal opinion is rather better, though is fair to say that the final minutes of this one are superior, and also the performance of the main tune and the highness of the patriotic feelings of the Spanish immigrants in the elegant boat sequences. Inmediatly after Estrella singing of Suspiros, both Miguel Ligero and her sing and dance a joyfully and funny rumba at the boat deck. The best of the film, alongside with the final song.

But the rest of the footage is quite vulgar and it's clear that despite the UFA help, Perojo hasn't the budget of 'La Verbena de La Paloma'. Or may be he wasn't comfortable working with the Germans, who knows...The fact is that the film is badly shot and worse acted at many times. For example, Miguel Ligero is horrible in this film, making faces all the time, or quarreling loudly with her sister in the plot. It tries to be funny but it isn't, and nothing to do with other of his films or the performance of Antonio Riquelme in the later version.

Captain Blackjack (1950)

Smuggling from other movies

[6/10 · 19 October 2015]

Both the plot and the visual appearance of this very unknown film reminds the spectator in some whiles of masterpieces of that time like 'The Third Man', 'Casablanca', 'The Lady of Shangai', 'Beat the Devil', or even 'Mr Arkadin' (an strange and marvelous co production filmed in Spain as well) but it's quality is a sidereal distance far away from them.

Plot is a little complicated, characters are not completely credible and Sanders is a little miscast in this story settled in Mallorca about an smuggler and his ethical doubts. As in many co productions you feel that the result is composed of glued parts and so the whole thing doesn't work as properly as it should.

Anyway, has moments that deserve the watching: A funny José Nieto telling Agnes Morehead she is as beautiful as a fruit in season (though may be you have to be Spanish to enjoy it). And some other beautiful: the cave sequence, the opening with the mills (with remembrances from Orson Welles), besides some glimmer of magic in the acting of Sanders, Morehead and Roc. All the outdoor footage in black and white at the Mallorca seaside is also remarkable.

And of course, the musical sequence (magistrally shot) with Lola Flores and Manolo Caracol making some flamenco sketches at the top of their art is something all spaniards should be proud of

The Legend of Blood Castle (1973)

Soft gore and morbid sex

[6/10 · 6 October 2015]

Catalonian director Jorge Grau made in Spain in the 60s films as nice as "Una historia de amor", or as interesting as "El Espontáneo". In the 70s he also reached commercial success with the not negligible "La Trastienda". Always with a very personal style, most of the times very elegant too, as it can be seen at the end of his career in movies so underrated as "El Extranjero de la Calle Cruz del Sur" or "Tiempos Mejores".

In the seventies he also made in joint production with other countries some horror films, like the funny and disturbing "No profanes el sueño de los muertos" or this cult and historical approach to the vampires myth. Both films are probably which he is probably best known internationally.

The trouble with "Ceremonia Sangrienta" is that in my opinion it lacks of the gracefulness in the stage of other of his films, it hasn't those polish camera movements, and it is plenty of zoom movements and closeups.

May be someone can say that help the story creating a creepy atmosphere but it is not only a formal matter. In my opinion there are also in the script some aspects not enough developed, like the relation between the marquis and his wife. In that sense, the character of Lucía Bose is far more plenty of information for the spectator than Espartano Santoni's which is not completely clear about his feelings and willings.

Anyway, the film has creepy moments and probably is a " must see" for horror (and blood) lovers, specially if you like some kind of 'soft gore' with a certain doses of morbid sex. One odd thing is that you don't know if the marquis is a vampire or not. And the ambiguous final has some impact too.

Muere una mujer (1965)

A thriller without stress

[6/10 · 3 October 2015]

Mario Camus, one of the best and more recognized Spanish directors ('La Colmena', 'Los Santos Inocentes'), made in the 60 some remarkable films like 'Young Sanchez' or 'Con el viento solano'.

In this one you can note the hand of the great Carlos Saura in a story that launches with Javier (Alberto Closas), a man who cheats her wife Marisa (Mabel Karr). This high class couple is not very happy but what seems to be a drama soon become a thriller when a murder takes place and Marisa dies from a heart attach at the discovering of the corpse. The main suspect is Javier.

As usual in his films, Camus shoot this one with a lot elegance, firm and steady steps, and the cinematography is also beautiful. Set in Barcelona, it is also a nice document of how was the city at the time, the cars or even the flats, with a superb production design. In that way the film is pleasure and the story is also interesting till the end.

But the film has also some trouble: One is the choice of Alberto Closas for the main role; though he was a great actor and his performance is nice, he was mostly a comedy actor and despite of his always big presence on screen is not completely credible.

Besides, the plot is not developed exactly as a thriller, there's not the strain in that sort of movies and though Javier has to work to prove his innocence he doesn't seem stressed for it and, in fact, the police is never a menace for him (may be because because he is rich!!) like in similar situation we saw Henry Fonda in Hitchcock's 'The Wrong Man' or even Closas in the amazing 'Muerte de un Ciclista'. In addition of all this, is too obvious from the beginning to the top of the film who is the murderer.

Anyway, as i wrote above, the films is very watchable if you simply like movies (there are many Italian pictures of this period similar in plot and images treatment to this one, and very few are better).

Beautiful and young Mara Goyanes is delicious in the role of a silly cabaret girl and in the cast is also a magnificent actor: Tomas Blanco. Trouble is that is dubbed in the copy i watch on TV.

Climax (1977)

Surprisingly good portrait of the convulse awakens of a teenager in a convulse time

[7/10 · 2 October 2015]

If you have an average notion of Spanish cinema and you mention Francisco Lara Polop probably come to your mind that kind of low budget and nudity comedies filmed in the time of the transition to democracy, most of all of very bad quality.

Nevertheless, he made some interesting films like "La Patria del Rata", he got an honorific award in Berlin for "El Cabezota" and...also is the director of this surprisingly good movie (!) about the awakens to life of a high- class teenager in Madrid in those 70s, plenty of social critic to the people who ruled Spain then.

¿May be that the reason this movie is not enough known? Starred by french actress Annie Belle, the film deals with drugs (heroin) and some lesbianism, and (what probably is at least as important) with the big hypocrisy of the upper class and even the selfish of the parents of this young lady (Teresa Gimpera and Javier Escrivá), more concerned about the man political career than the health of her daughter.

Im not going to say it is a masterpiece, but almost everything in this film fits very well considering the dramatic story, even the nudity and sex scenes, what is a big difference with the silly films i referred above.

All the cast (that also includes Silvia Tortosa and Virginia Mataix in one her first roles) made a very good job, and the direction is particularly smooth and agile, like an American film.

Very watchable (and not only because the bodies of the various ladies you will see without clothes) for everyone who like dramatics real life stories of all time and that not get old.

Tiempo de tormenta (2003)

A beautiful unknown gem about real life

[8/10 · 2 October 2015]

What happens if you have affection to your mate or even you love it and you also fall in love with other person and you don't want to hurt your good old friend in life because you know is weak? What happens if you are conscious about that who has been together with you for years needs you and if you let him down you'll make a big damage and even put his or her life in risk? May be some other movies have been concerned about this deal occasionally, but i don't remember anyone with the strength and deepness of this beautiful and graceful film with big drama but also very tender moments. Because the film is actually very tender and the script has its funny moments too.

Olea's direction is absolutely solid and the story is very well built, may be because one of the writers is the detective novelist Alicia Giménez Bartlett. But the four main members of the cast are also superb in their roles: In this sense, the chemistry between Verdú and Sanz that they have developed since they were teenagers in films like "El año de las luces" works, and the acting of Barranco and Grandinetti is also very remarkable.

But as many other times Sanz is the king of the screen here, and of course of his ironical dialogs, so plenty of the sense of humor of a loser that is difficult to avoid a big sympathy for him. The scene in which Barranco and him have a night of revelry is one of the big highlights of the film though all of it is a big piece of real and tender life.

The only thing that doesn't convince me is the ending, thinking it could be different. But i have watched it just one time. May be i change my opinion the next!!

La mitad del cielo (1986)

Beautiful tale in a nice atmosphere

[8/10 · 24 September 2015]

Marvellous and magic film about the rising of a woman (Angela Molina) in Franco era from her little poor village to become the owner of a fashion restaurant.. It has also a supernatural inner plot, like a Celtic fairy tale, through the role of this woman's grandma and daughter. Alcaine's cinematography is beautiful, and the work of all the cast is excellent. The script and the direction develops nicely the story as well, with amazing elipsis. It is necessary to emphasize also the work of Fernando Fernan Gómez, as superb as always, in the role of the nice and rich old man who helps the main character.Fernan Gómez wasn't a usual actor. He used to give to his roles his own personality as the monster of the acting he was. And in this film his role is also very charming, because despite he feels deeply attracted by this woman and has an affair With her, also let her to be free and want her happiness. And what can i say about Angela Molina work? As in most other films she shriek and squeal a lot with her high voice. In any other actress it would be ridiculous. But in her is a part of her acting that always fits perfectly!!

El caserío (1972)

The original deserves a better movie, but anyway is odd

[5/10 · 19 September 2015]

The famed director of some of the most representative of the first Franco-era films ("Agustina de Aragón", "Locura de Amor"), Juan de Orduña, was commissioned in the late 60s by Spanish Television, for making a total of seven musical adapted from successful zarzuelas, the genre of Spanish Lyric Theatre par excellence.

Although according to some, this set in the Basque rural world is one of the most successful, in my personal opinion the film is rather disappointing. And is that because of bland and nothing expressive interpretation of the actors (and particularly of the two main male characters), and a script and staged fairly flat and erratic.

Also it is the case that in several of the musical numbers, there are not even a good coordination between the work of actors and the lyric genre singers (all first-line) who put their voices over them, leading to sometimes the film even falling in some ridiculous.

A shame, and not only because the original zarzuela from Jesus Guridi deserves a better adaptation, but because the film has also visually interesting moments, and even a bright start indeed

In addition, the original libretto by Federico Romero and Carlos Fernández Shaw cant help remaining curious, with funny moments and even some drama, although some may believe that the portrait of the Basque countryside, offering is somewhat burdened by the way picturesqueness. And that, along with the music, prevails.

Arrebato (1979)

Love, drugs, vampires and film reels with a Bergman touch

[8/10 · 17 September 2015]

A very disturbing Spanish cult movie, involving drugs addiction, the dark side of love and the passion of filming. For most of the critics is also a horror movie and a vampires story. And every time you watch it you can find in it something new, indeed.

Shooted in the years of the Spanish political and cultural dawn, but going away from the mainstream, and with a very low budget, it drives you from the beginning to the end in so a magnetic and weird plot that you can't stop watching.

But Arrebato is also remarkable because of the astonishing performance of the main characters couple, Eusebio Poncela and Cecilia Roth. Most in the claustrophobic atmosphere of their bedroom, it reminds some highlights of Ingmar Bergman films like 'Scener ur ett aktenskapps' o 'Saraband'