If you read the other reviews you know by now that this film is about prostitution. I saw "Madeleine" many years ago in German with English subtitles and I was very impressed by the way it handled the subject matter, by the cinematography, and by the acting. Director Kurt Meisel also managed to create a compelling atmosphere that is fascinating and stays with you long after viewing the film. Also impressive are the performances of the two female leads, Eva Bartok as the experienced but sad Madeleine, and Sabine Sesselmann as the student who decides to help her and the other ladies trapped in the world prostitution. Since then, I have been trying to find a copy on home video that matches the original film but it has been impossible. The DVD badly dubbed in English and sold under the title "Naked in the night" is a total disaster. Do not buy it! The scenes in the film are out of order and you might have a tough time understanding it. Let´s hope that someday "Madeleine" receives the treatment it deserves in home video. The ideal is to be able to watch it in the original German with English subtitles. None of that laughable, distracting dubbing which cheapens an otherwise good movie.
Reviews
32 Reviews
Entre hermanos
(1945)
UNUSUAL LOVE TRIANGLE
25 February 2021
This little known1945 production could very well be the best in the filmography of film pioneer and director Ramón Peón. Based on a play by Federico Gamboa and with a script by Emilio Fernández, Mauricio Magdaleno and Carlos Velo, "Entre hermanos" is truly a satisfying movie experience.
The story could be easily taken as a customary Mexican melodrama since it starts as the classic romantic tale of two men in love with the same woman. However that is where the similarity ends since the story, as written by the illustrious Federico Gamboa, develops into what seems a bona fide Greek tragedy. Two men, Ramón and Gerardo, are brothers who have known Pilar, the woman they both love, since childhood. The brothers are very serious about their love and intentions for Pilar but she is not so sure of her own feelings. The Mexican Revolution breaks out and both brothers go to fight in the front but, after a while, Ramón, plays a trick on his brother, deserts the army, and returns home to pursue his seduction of Pilar. Meanwhile, in the background there is the wailing Soledad, a mysterious woman who might be alive or dead but whose presence casts a shadow of doom over all.
While Geraldo becomes a hero of the Revolution, Pilar realizes that she is really in love with Ramón and marries him. Of course, that is not the end of the story because after that Gerardo will show up when you least expect it and Pilar tries some witchcraft from Soledad. You will surely be treated to more suspense, mystery and shock but I don´t want to spoil it for you. The cast of "Entre hermanos" was assembled from some of the greatest actors in Mexican cinema who were also favorites of the public. Pedro Armendáriz, Rafael Baledón, José Elías Moreno, etc. are all very good, but I would like to highlight the performances of the lead females Carmen Montejo, Anita Blanch and Isabela Corona. Those ladies turn out excellent performances, the kind that stays with you long after watching the film.
"Entre hermanos" takes place in rural Mexico at the beginning of the 20th Century and veteran cinematographer Jack Draper gives us images that transports us to the precise place and time. There are a few precious moments of visual excellence like the dance of "sowing seeds on the soil" by a group of female dancers wearing typical Indian customs. The sequence was artfully shot and is simply enchanting. I just hope this film gets the attention it deserves from cultural institutions such as Mexico´s UNAM, and from the home video industry. Maybe someday we can enjoy "Entre hermanos" digitally remastered and restored to the way it was originally conceived and filmed by director Ramón Peón and his crew.
The story could be easily taken as a customary Mexican melodrama since it starts as the classic romantic tale of two men in love with the same woman. However that is where the similarity ends since the story, as written by the illustrious Federico Gamboa, develops into what seems a bona fide Greek tragedy. Two men, Ramón and Gerardo, are brothers who have known Pilar, the woman they both love, since childhood. The brothers are very serious about their love and intentions for Pilar but she is not so sure of her own feelings. The Mexican Revolution breaks out and both brothers go to fight in the front but, after a while, Ramón, plays a trick on his brother, deserts the army, and returns home to pursue his seduction of Pilar. Meanwhile, in the background there is the wailing Soledad, a mysterious woman who might be alive or dead but whose presence casts a shadow of doom over all.
While Geraldo becomes a hero of the Revolution, Pilar realizes that she is really in love with Ramón and marries him. Of course, that is not the end of the story because after that Gerardo will show up when you least expect it and Pilar tries some witchcraft from Soledad. You will surely be treated to more suspense, mystery and shock but I don´t want to spoil it for you. The cast of "Entre hermanos" was assembled from some of the greatest actors in Mexican cinema who were also favorites of the public. Pedro Armendáriz, Rafael Baledón, José Elías Moreno, etc. are all very good, but I would like to highlight the performances of the lead females Carmen Montejo, Anita Blanch and Isabela Corona. Those ladies turn out excellent performances, the kind that stays with you long after watching the film.
"Entre hermanos" takes place in rural Mexico at the beginning of the 20th Century and veteran cinematographer Jack Draper gives us images that transports us to the precise place and time. There are a few precious moments of visual excellence like the dance of "sowing seeds on the soil" by a group of female dancers wearing typical Indian customs. The sequence was artfully shot and is simply enchanting. I just hope this film gets the attention it deserves from cultural institutions such as Mexico´s UNAM, and from the home video industry. Maybe someday we can enjoy "Entre hermanos" digitally remastered and restored to the way it was originally conceived and filmed by director Ramón Peón and his crew.
Toi... le venin
(1958)
NOT TO BE MISSED
27 January 2021
I first saw this film in 1959 at age 13 and it made quite an impression. The image of a blonde beauty, bare-breasted in a car in the shadows of the night, was simply too much and it stayed in my mind forever. At the advent of the home video industry, a re-encounter with the nasty little film seemed possible but I had to wait three decades for it to become true. I am happy to report that thanks to the Gaumont folks in France, "Toi, le venin" came out in style, a magnificent print in black & white, in Blu-ray no less. The edition includes an original trailer and an interview with Marina Vlady talking about her character in the movie. Often, films that impressed us when young are as huge disappointment when we see them as adults. Thankfully this is not the case with "Toi, le venin" since, apart from the bare-breasted blonde, it is a fine film that will maintain your attention from beginning to end. Don´t miss it! They don´t make movies like this anymore.
Pequeñeces...
(1950)
A FORMIDABLE CAST IN A TEDIOUS FILM!
14 September 2020
In today's Spain, so politically inclined to the extreme left, it is fashionable to criticize the films that were made during the regime of Francisco Franco. Of course not all films done in Spain in the post Civil War period (1936-1975) were good, just as not all films done during the present "democracy" are good either. I hope that some day in the future common sense prevails and Spanish films will be judged by art and not by politics.
In reference to "Pequeñeces", it was filmed by CIFESA in the backdrop of a strong and highly organized film industry that worked very similar to the Hollywood studios of the same era. CIFESA had under contract, a magnificent roster of writers, technicians, producers, directors, and actors who worked constantly in the many productions filmed every year for distribution in Spain and all over the world, most especially Latin America. Consequently, "Pequeñeces" boasts of impressive production values as it recreated in great detail the world of aristocracy during the last days of King Amadeus of Savoy and the revolt that ousted him. The cinematography by Theodore J. Pahle is superb in spite of the very difficult sets he had to photograph, but I found the soundtrack music by Juan Quintero sometimes too heavy and intrusive. The script based on the novel by Father Luis Coloma is as baroque as the novel itself. I was surprised that a priest could have written such a risqué story whose main characters are a bunch of unlikable perverts. You will see a ruthless evil mother (Curra Albornoz, played by Aurora Bautista), a degenerate playboy (Jacobo Tellez played by Jorge Mistral), rampant adultery by all, a valueless, corrupt, pleasure-seeking aristocracy, inordinate sexual passions, assassins, a high end prostitute (Monique played by Sarita Montiel) and even an obviously gay character (Frasquito played by the great Félix Fernández).
You probably ask: all that during the terrible days of Franco's censorship? Yes indeed, and more. Of course towards the end, all the sinners receive their just punishment for their behavior, and you either think the punishment was not enough, or you simply don't care after sitting for over two hours watching all the mayhem. Although overlong and episodic, "Pequeñeces" -directed with military precision by Juan de Orduña- should be seen at least once. And, by all means, continue watching Spanish films made in the 1930´s, 1940´s, 1950´s and 1960´s and your life will be enrich by the many cinematic gems that were made in that golden era.
In reference to "Pequeñeces", it was filmed by CIFESA in the backdrop of a strong and highly organized film industry that worked very similar to the Hollywood studios of the same era. CIFESA had under contract, a magnificent roster of writers, technicians, producers, directors, and actors who worked constantly in the many productions filmed every year for distribution in Spain and all over the world, most especially Latin America. Consequently, "Pequeñeces" boasts of impressive production values as it recreated in great detail the world of aristocracy during the last days of King Amadeus of Savoy and the revolt that ousted him. The cinematography by Theodore J. Pahle is superb in spite of the very difficult sets he had to photograph, but I found the soundtrack music by Juan Quintero sometimes too heavy and intrusive. The script based on the novel by Father Luis Coloma is as baroque as the novel itself. I was surprised that a priest could have written such a risqué story whose main characters are a bunch of unlikable perverts. You will see a ruthless evil mother (Curra Albornoz, played by Aurora Bautista), a degenerate playboy (Jacobo Tellez played by Jorge Mistral), rampant adultery by all, a valueless, corrupt, pleasure-seeking aristocracy, inordinate sexual passions, assassins, a high end prostitute (Monique played by Sarita Montiel) and even an obviously gay character (Frasquito played by the great Félix Fernández).
You probably ask: all that during the terrible days of Franco's censorship? Yes indeed, and more. Of course towards the end, all the sinners receive their just punishment for their behavior, and you either think the punishment was not enough, or you simply don't care after sitting for over two hours watching all the mayhem. Although overlong and episodic, "Pequeñeces" -directed with military precision by Juan de Orduña- should be seen at least once. And, by all means, continue watching Spanish films made in the 1930´s, 1940´s, 1950´s and 1960´s and your life will be enrich by the many cinematic gems that were made in that golden era.
Melocotón en almíbar
(1960)
COULD HAVE BEEN BETTER...
17 August 2020
Uneven adaptation of Miguel Mihura´s celebrated black comedy, kept alive by Antonio del Amo´s agile direction. The plot is interesting enough to maintain certain interest. A band of professional thieves hides in a plush apartment after robbing a jewelry store. One of them gets sick and a doctor is summoned to examine him; the diagnosis is double pneumonia and shots are prescribed. The doctor sends a nurse to care for the patient and the nurse happened to be a saintly nun. From then on, all hell breaks loose since the nun displays an amazing talent for guessing what´s going on in the apartment. The soundtrack music by Algueró helps the proceedings, but after a while boredom sets in. Wooden performances by all are the main culprit, except for Marga López as the nun. Matilde Muñoz Sampedro as the landlady, could have added credibility to the cast, but she was unforgivably dubbed by another Spanish actress losing her usual charm and exuberance. Pity! María Mahor and Carlos Larrañaga only contribute their good looks to this production which should have been much better.
Libertad para la juventud
(1970)
PSYCHEDELIA WAS NEVER WORSE!
27 March 2020
Worthless farce, just an excuse to show bikini-clad young females and allow Mr. Avellanet to sing a couple of songs. Filmed in Puerto Rico at the end of the psychedelic free love and peace era, it shamelessly exploits the generation gap and the youth revolution without any sincerity or realism. Amateurish direction, production and editing, makes the U.S. Avalon-Funicello beach movies look like Oscar material in comparison.
Camino del infierno
(1951)
HELL IS FULL OF GOOD INTENTIONS
27 March 2020
Granted that a movie featuring legendary Mexican film actors Pedro Armendariz, Leticia Palma, and Ramón Gay, based on a story by Luis Spota, and directed by the experienced Miguel Morayta, is difficult to turn down. Unfortunately, this time around the experience is not very pleasant. Leticia Palma plays Leticia (yes Leticia), a heartless prostitute who sings at a casino owned by her lover Tony (Wolf Ruvinskis). Leticia, who is only interested in cash, is the mastermind behind a plot to rob Tony of $300,000 pesos of casino earnings. For that purpose she uses León (Ramón Gay), the casino administrator who is madly in love with her, and Pedro (yes Pedro Armendariz) an ex-convict she recruits using cold blackmail. The robbery goes terribly wrong with Tony and León killing each other and Pedro badly shot in one hand. Leticia, waiting outside in the getaway car, tries to run over Pedro when she realizes the failure of the operation. Pedro survives and savagely beats her up.
From then on the film focuses on their relationship while they hide from the law. Faster than you can say "quesadilla", these two disgustingly evil human beings experience a change of heart. Without any warning to the film watcher, Leticia & Pedro stop being at each other´s throats and fall in love. They get married and turn into goodie-goodie law abiding citizens. In my opinion the reformation happens too fast and it is quite unbelievable. But do not think that this is the end of the film. It simply can not be since Pedro & Leticia have a debt to society and Mexican melodramas do not allow any evildoers to get off without punishment. Things get more complicated but I will say no more about the plot. You will not get any spoilers from me. However don´t say I didn´t warn you about the messy script which aborts every opportunity to deliver a fine film noir of sorts. Quite a shame since "Camino del infierno" is full of possibilities, but went on the roadway to hell.
From then on the film focuses on their relationship while they hide from the law. Faster than you can say "quesadilla", these two disgustingly evil human beings experience a change of heart. Without any warning to the film watcher, Leticia & Pedro stop being at each other´s throats and fall in love. They get married and turn into goodie-goodie law abiding citizens. In my opinion the reformation happens too fast and it is quite unbelievable. But do not think that this is the end of the film. It simply can not be since Pedro & Leticia have a debt to society and Mexican melodramas do not allow any evildoers to get off without punishment. Things get more complicated but I will say no more about the plot. You will not get any spoilers from me. However don´t say I didn´t warn you about the messy script which aborts every opportunity to deliver a fine film noir of sorts. Quite a shame since "Camino del infierno" is full of possibilities, but went on the roadway to hell.
Operación Tiburón
(1967)
CHEAP JAMES BOND RIP OFF!
9 March 2020
This Puerto Rican-Mexican co-production is clearly influenced by the success of the Sean Connery 007 films. It has all the basic elements: mysterious spy plot, a super villain, gorgeous female beauties in sexy outfits (there´s even a brief scene of partial nudity), chases, Bpnd inspired soundtrack, and of course, a hunky spy hero with plenty of hair on his chest. What´s missing? The big budget of course! Instead of the usual Bond hi-tech gimmicks, the producers decided to give us some musical numbers by Victor Mojica and Lucecita Benitez much cheaper than special effects. "Operation Shark" might prove interesting to people who want to see what Puerto Rico looked like back in 1967. In addition, voyeurs of both sexes might find some delight in watching an assortment of scanty clad señoritas or the bare chests of Braulio Castilllo and singer Mojica. Warning: Lucecita Benitez performs fully dressed.
Enough Rope
(1963)
RARE UNFORGETTABLE FILM!
7 February 2020
I confess I have never read Patricia Highsmith's novel "The Blunderer" and wondered why the film title was rendered as "Le meurtrier" (The Murderer). The correct translation is "Le gaffeur", which is not as commercial as The Murderer although when the film was released to English-speaking audiences it became "Enough rope". Oh well!
The important thing is that we are talking about an excellent film dynamically directed by Claude Autant-Lara, featuring Jacques Natteau´s creative cinematography and magnificent performances by a very special cast. I am not going to comment on the suspenseful plot since other reviewers have done so very well; however the only fault I found on this rare film is how Mark (Maurice Ronet) makes the connection that it was Kimmel (Gert Fröbe) who murdered his own wife and starts stalking him. Why? Maybe I missed something since the copy I saw was in German with a lousy English translation in subtitles. Pity! I really wish for "Le meurtrier" to be released in DVD, or better yet on Blu-ray, in its original French with lots of extras.
If I sound excited about this film is because I really am, and wish that many people will be able to experience it the way it was conceived by Mr. Autant-Lara.
The important thing is that we are talking about an excellent film dynamically directed by Claude Autant-Lara, featuring Jacques Natteau´s creative cinematography and magnificent performances by a very special cast. I am not going to comment on the suspenseful plot since other reviewers have done so very well; however the only fault I found on this rare film is how Mark (Maurice Ronet) makes the connection that it was Kimmel (Gert Fröbe) who murdered his own wife and starts stalking him. Why? Maybe I missed something since the copy I saw was in German with a lousy English translation in subtitles. Pity! I really wish for "Le meurtrier" to be released in DVD, or better yet on Blu-ray, in its original French with lots of extras.
If I sound excited about this film is because I really am, and wish that many people will be able to experience it the way it was conceived by Mr. Autant-Lara.
Mis padres se divorcian
(1959)
FUN & MAYHEM WITH LIBERTAD & ARTURO!
24 November 2019
The pairing of Miss Lamarque and Mr. de Córdova was doubtless a great attraction at the box office. It happened first in 1952 with "Te sigo esperando", later they came back in "Bodas de oro" (1956) and, if you didn´t get enough with "Mis padres se divorcian" (1959), you could still enjoy them in "La cigueña dijo sí" (1960 which was probably the best of them all.
Not that "Mis padres se divorcian" is a bad film since it works fine as innocent entertainment. It´s just that it could have been better if they had fine tuned the script a bit. The fighting and bickering between husband (Arturo) and wife (Libertad) runs thin after a while. To make matters worse we are dealing with a middle age couple behaving very immature but trying to come across cute .
Of course, if you are a fan of the stars you´ll have a field day watching them through all the mayhem. The Eastmancolor photography helps as well as the songs by Miss Lamarque. She is simply delightful in "Quirino con su tres" but the big production number in which she sings a medley of songs by Agustín Lara, José Alfredo Jiménez, and Consuelo Velazquez (with all three composers in attendance) is pure kirsch. On the other hand, the earthquake scene was very well done by director Julián Soler although the tragedy does not help the film.
In spite of the little problems the stars save the day. We don´t have talents like Libertad & Arturo anymore and that is why they remain legendary, symbols of a "golden era" in Mexican films. Martha Mijares is also fine as the daughter tossed around by her parents disagreements while Raúl Ramírez is just a shadow passing by. Try watching this film in COLOR. There are DVDs out there that have turned this film into black and white!
Not that "Mis padres se divorcian" is a bad film since it works fine as innocent entertainment. It´s just that it could have been better if they had fine tuned the script a bit. The fighting and bickering between husband (Arturo) and wife (Libertad) runs thin after a while. To make matters worse we are dealing with a middle age couple behaving very immature but trying to come across cute .
Of course, if you are a fan of the stars you´ll have a field day watching them through all the mayhem. The Eastmancolor photography helps as well as the songs by Miss Lamarque. She is simply delightful in "Quirino con su tres" but the big production number in which she sings a medley of songs by Agustín Lara, José Alfredo Jiménez, and Consuelo Velazquez (with all three composers in attendance) is pure kirsch. On the other hand, the earthquake scene was very well done by director Julián Soler although the tragedy does not help the film.
In spite of the little problems the stars save the day. We don´t have talents like Libertad & Arturo anymore and that is why they remain legendary, symbols of a "golden era" in Mexican films. Martha Mijares is also fine as the daughter tossed around by her parents disagreements while Raúl Ramírez is just a shadow passing by. Try watching this film in COLOR. There are DVDs out there that have turned this film into black and white!
Noche de carnaval
(1984)
WASTED NIGHT OF CARNIVAL
30 August 2019
Not even the almost all-star cast, and some fancy camera work by cinematographer Raul Dominguez, (especially in the night club footage) can save this confusing tale of exploited harbor workers, and "ficheras" (dancing prostitutes). By the late 1970s and early 1980s, and beyond, Mexican cinema had deteriorated into the so called "ficheras films" which were nothing but sexploitation at its worse, mixed with loud tropical music, and lousy melodrama. "Noche de carnaval" is just that, and maybe a bit more. As customary by writer Xavier Robles, he added some political rhetoric about corruption in Mexico's labor unions. On these particular sequences, consider it your cue to get snacks from the kitchen or do whatever in the bathroom. When you return, it might be on time to see Ninon Sevilla dancing up a storm in spite of her, let´s say, mature years
I Spit on Your Grave
(1959)
I SPIT OF THIS FILM
8 August 2019
Let me keep it simple. This is one of those films that "looks" depressing from beginning to end, and I don't like depressing films. Granted there is some interesting camerawork by veteran cinematographer Marc Fossard and the jazzy soundtrack by Alain Goraguer is sort of intriguing. However the whole idea of an American film done in French by the French is difficult to digest. It starts out interesting enough as a crude exposé of racism in the American South but degenerates into a sexploitation ode to the legendary superiority of African American virility. That's the only explanation I could come up with after watching the main character, Joe Grant -a black man passing for white- arrive at the fictional town of Trenton, and unleash a veritable sexual revolution among the female population. It is never explained how or why every girl in town wants to get into Joe's pants. After all, the man is only there to avenge his brother's lynching, and does absolutely nothing to cause such a nymphomaniac reaction! That is only one of the many uncertainties that plague the script of "J'irai cracher sur vos tombes". I have never read the Boris Vian novel in which is supposedly based, nor do I intend to ever do so. (For me it is quite enough to enjoy Vian´s musical exploits with his muse Magali Noël). But I digress. Back to the film, there's not much to redeem it, unless you enjoy Trenton's seedy atmosphere, a brief lesbian kiss, a topless beauty swimming in a river, sado-masochism behavior by all, violence, and, of course, Joe's uncalled for sexual magnetism, as played by the extremely virile Christian Marquand. C´est dommage!
The Sound and the Fury
(1959)
GOOD HOLLYWOOD ENTERTAINMENT!
1 May 2019
I just saw S&F for the first time on the Fox channel and I was impressed. Jerry Ward´s production values are superb as usual, while Martin Ritt´s direction has some ups and down. Seems to me he was struggling to keep the script alive. I´m not going to comment on the lack of connection with the William Faulkner novel since most reviewers have covered the delicate issue. However I believe the film provides ample Hollywood-like entertainment to make it worth watching. All the actors give good performance as expected, but I really enjoyed Margaret Leighton as Caddy and Ethel Waters as Dilsey, both superb. Yul Brynner has enough magnetism to hold his own, but Joanne Woodward is totally miscast as the rebellious Quentin. It´s really intriguing that all the reviewers on this page failed to mention that Miss Woodward was 30 years old when she played the Quentin character who is supposed to be 17. Although Woodward tries hard to act like a teenager, the photography doesn´t help her. In some scenes she looks 40! In spite of this and all the other flaws, I recommend S&F as a good example of the films Hollywood was dishing out at the end of its "golden era".
Contempt
(1963)
SLOW, BORING, LOUSY...
2 July 2018
I wonder if my opinion about this awful film would be different had I seen it when it first came out in 1963. Ah...those golden days when everybody believed in the redeeming values of La Nouvelle Vague! However I had to base my opinion on a recent Blu-ray French release which couldn´t get any better in quality. The latest technology at the service of a Godard classic.
I knew I was in trouble from the very beginning of Le Mépris with that long shot of a filming crew moving slowly toward the front while a male voice narrates the credits. Creative yes, but oh so boring! Next we see the stars, Bardot & Piccoli, laying in bed exchanging the most inane dialog in movie history. Two things help the pointless scene: Bardot´s naked rear and a soundtrack music that suggests something very important is happening here. The trick keeps repeating itself throughout the whole movie. A dramatic, beautiful, almost classical score insists on making us believe that something is about to happen or is actually happening. Trust me, nothing happens and when it does is so painstakingly slow that boredom sets in and you just don´t care.
Since La Mépris is about movie-making, we are next treated to a long, boring exposition of what it´s all about. A rich egotistical American producer, played as a caricature by Palance, is in Italy to film an adaptation of Homer´s "L'Odyssée" and is having a creative clash with the director he has hired, none other than the too old and fragile Fritz Lang playing himself. Palance then goes after Piccoli to re-write the script after his own specifications and brings him and his wife Bardot to the film location in Capri. The celebrated BB looks utterly bored by the proceedings and I don´t blame her. Her marriage to Piccoli seem to be in trouble but it is not clear why. Will she dump her husband for Palance? That is the totality of this Godard mess made palatable by the marvelous color photography and spectacular locations. Le Mépris only lasts an hour and a half but feels longer than four hours due to Goddard´s lousy lack of timing and rhythm. So slow it doesn´t sustain life. Keep away.
I knew I was in trouble from the very beginning of Le Mépris with that long shot of a filming crew moving slowly toward the front while a male voice narrates the credits. Creative yes, but oh so boring! Next we see the stars, Bardot & Piccoli, laying in bed exchanging the most inane dialog in movie history. Two things help the pointless scene: Bardot´s naked rear and a soundtrack music that suggests something very important is happening here. The trick keeps repeating itself throughout the whole movie. A dramatic, beautiful, almost classical score insists on making us believe that something is about to happen or is actually happening. Trust me, nothing happens and when it does is so painstakingly slow that boredom sets in and you just don´t care.
Since La Mépris is about movie-making, we are next treated to a long, boring exposition of what it´s all about. A rich egotistical American producer, played as a caricature by Palance, is in Italy to film an adaptation of Homer´s "L'Odyssée" and is having a creative clash with the director he has hired, none other than the too old and fragile Fritz Lang playing himself. Palance then goes after Piccoli to re-write the script after his own specifications and brings him and his wife Bardot to the film location in Capri. The celebrated BB looks utterly bored by the proceedings and I don´t blame her. Her marriage to Piccoli seem to be in trouble but it is not clear why. Will she dump her husband for Palance? That is the totality of this Godard mess made palatable by the marvelous color photography and spectacular locations. Le Mépris only lasts an hour and a half but feels longer than four hours due to Goddard´s lousy lack of timing and rhythm. So slow it doesn´t sustain life. Keep away.
BB ON HER WAY OUT!
9 May 2018
To get it out of the way, I never believed that Roger Vadim created BB or vice versa. They were both products of a film era that needed urgently some sexual awakening with the difference that he was a not-so-hot writer-director while she was a force of nature waiting to unleash her power. And boy did she do it!
Almost two decades after "Et Dieu... créa la femme" (1956) and after trying for years to replicate its success with BB stand-ins (Jane Fonda, Annette Stroyberg, Rebecca De Mornay, etc.) Vadim reunited with Bardot for what must have seemed (to them) a terrific idea: BB, the eternal seducer as Don Juan, the seducer par excellence. BB playing a stud? Not on your life! Her part is of a female seducer who thinks she was Don Juan on a previous incarnation. Really.
I think all this Don Juan business is just an excuse to show some hanky panky between Bardot and Birkin since lesbian love scenes were very popular in the early 70s and Vadim gracefully obliged. After all, if he wanted to presume of remaining a cinema transgresseur, showing BB in a lesbian situation is not such a bad idea. However by 1973 Bardot was no longer BB, that half a child, half a woman that conquered the world. Mind you, her charm and personality was still there but her face showed the puffiness and lines of middle age in spite of being shot through filters and special lightning.
Maybe the Don Juan concept could have worked better ten or fifteen years before but, if you are a Bardot follower, you know she did something very similar in Julien Duvivier´s "La femme et le pantin" (1959) filmed in Spain. I say "similar" because the story, although based on a novel by Pierre Louÿs, owes a lot to Prosper Mérimée' s "Carmen", that gypsy dame who plays with men' s emotions, a part that seem designed for BB who was then at the top of her powers as the ultimate seductress. Who is Carmen but a female version of Don Juan?
In short this is a not-so-good-film that must be seen for several reasons. First of all because it marked the end of Bardot' s film career (she did another film in 1973 and that was it), also for the presence of two actors that are also true cinema legends, Maurice Ronet and Robert Hossein (both deserve better). Last but not least, some praise must go to the Eastmancolor cinematography by veteran cameraman Henri Decaë. The rest you can throw away, Vadim et all.
Almost two decades after "Et Dieu... créa la femme" (1956) and after trying for years to replicate its success with BB stand-ins (Jane Fonda, Annette Stroyberg, Rebecca De Mornay, etc.) Vadim reunited with Bardot for what must have seemed (to them) a terrific idea: BB, the eternal seducer as Don Juan, the seducer par excellence. BB playing a stud? Not on your life! Her part is of a female seducer who thinks she was Don Juan on a previous incarnation. Really.
I think all this Don Juan business is just an excuse to show some hanky panky between Bardot and Birkin since lesbian love scenes were very popular in the early 70s and Vadim gracefully obliged. After all, if he wanted to presume of remaining a cinema transgresseur, showing BB in a lesbian situation is not such a bad idea. However by 1973 Bardot was no longer BB, that half a child, half a woman that conquered the world. Mind you, her charm and personality was still there but her face showed the puffiness and lines of middle age in spite of being shot through filters and special lightning.
Maybe the Don Juan concept could have worked better ten or fifteen years before but, if you are a Bardot follower, you know she did something very similar in Julien Duvivier´s "La femme et le pantin" (1959) filmed in Spain. I say "similar" because the story, although based on a novel by Pierre Louÿs, owes a lot to Prosper Mérimée' s "Carmen", that gypsy dame who plays with men' s emotions, a part that seem designed for BB who was then at the top of her powers as the ultimate seductress. Who is Carmen but a female version of Don Juan?
In short this is a not-so-good-film that must be seen for several reasons. First of all because it marked the end of Bardot' s film career (she did another film in 1973 and that was it), also for the presence of two actors that are also true cinema legends, Maurice Ronet and Robert Hossein (both deserve better). Last but not least, some praise must go to the Eastmancolor cinematography by veteran cameraman Henri Decaë. The rest you can throw away, Vadim et all.
Serenade
(1956)
Good, classy entertainment!
9 October 2017
At this time it is very easy to pan this outrageously inept rendition of the James M. Cain groundbreaking novel. People forget that back in 1955 it would have been impossible to film "Serenade" as written by the author. You can also say that Anthony Mann was not the ideal director for this kind of musical melodrama since he was more at home in the film noir and western genres. In spite of all that, "Serenade" is not a bad movie and can be enjoyed by all but most specially by opera lovers. Mario Lanza is mesmerizing singing some of the world's most beloved music. In my opinion he was never more effective as a singer than on this Warner Bros Technicolor production. As an actor Mr. Lanza has some good and bad moments playing Damon, the humble California vineyard worker who achieves fame and fortune only to be destroyed by his obsessive passion for beautiful socialite Kendall Hale (Joan Fontaine) who enjoys making stars out of her lovers and then dropping them for the next hopeful in line. When he hits rock bottom in Mexico he is rescued and rehabilitated by a wealthy bullfighter's daughter, the earthy and also beautiful Juana Montes (Sarita Montiel). When Damon goes back to the U.S. with Juana to re-launch his career, Miss Hale shows up again with every intention to manipulate the singer once more. Will she succeed? All that mayhem is worthy just to listen to Lanza's glorious voice sing with outstanding gusto "Torna a Sorrento", a most moving "Ave Maria" (Schubert) or Puccini's "Nessum Dorma" from "Turandot". As both a singer and an actor Lanza is particularly effective in his rendition of Verdi's "Dio Ti Giocondi" from "Othello", doubtless one of the artist's best moments in film. I find the supporting cast brilliant with special mentions going to Vincent Price as the sarcastic, witty opera manager and the gorgeous Sarita as the temperamental Juana.
Fantasma d'amore
(1981)
Terrific Romy & Marcello...So so film
15 November 2013
I have not seen much of director Dino Risi's work but this film is clearly not one of his best efforts. The script doesn't seem very original either, based on a novel by Mino Milani which mixes romance and mystery with a bit of horror and gore. We have seen it all before: a man meets by chance an old lover and the relationship is rekindled. The hitch is that the woman could be dead and he is having an affair with a ghost. Is she or isn't she? The whole movie runs on that premise except for a subplot in which another woman is brutally murdered and her runaway nephew is the main suspect. This adds the possibility of a diabolical revenge to our reunited love birds.
The atmospheric color cinematography by veteran Tonino Delli Colli is adequate and there's some great music in the proceedings but if it were not for the magnificent Romy Schneider and the equally great Marcello Mastroianni all the mayhem would have been unbearable.
By the way, this review is based on a DVD released in Spain which lists length as 85 minutes approx.
The atmospheric color cinematography by veteran Tonino Delli Colli is adequate and there's some great music in the proceedings but if it were not for the magnificent Romy Schneider and the equally great Marcello Mastroianni all the mayhem would have been unbearable.
By the way, this review is based on a DVD released in Spain which lists length as 85 minutes approx.
La mies es mucha
(1949)
The harvest is plentiful...but patience runs thin!
13 August 2012
"La Mies es Mucha" gets its title from the gospels. "The harvest is plentiful but the workers are few." Naturally this is a Catholic film that could only have been done during the Franco years in Spain. Overly sentimental it focuses on a Spanish priest, Father Santiago, who arrives in India to evangelize the natives. Excited about his mission, the good priest soon finds that things are more complicated than he expected. For starters, there is a Protestant pastor competing for conversions with better resources to offer the famished locals. The priest also encounters the intrigues of the pagan religious leaders who incite the populace against his mission. There is also an abusive mine owner who exploits the workers by lending them money at high interest rates, making the pay back impossible. In exchange he works them to death at the mine. Father Santiago intervenes by offering to pay the workers' debt but that places him in a compromising situation since he doesn't have that kind of money either. Things get tougher and tougher for the priest, including a plague breakout, but he faces all challenges with saintly patience and daring heroics. In spite of the heavy Catholic propaganda and a dull black and white cinematography, director Saenz De Heredia manages to keep things moving. That and some fine acting by all, especially Fernando Fernán Gómez as the priest, makes the film viewable. A very young Sarita Montiel wrapped in a sari, shows up a couple of times in a minor role in spite of being credited as one of starring players. Over all I do not recommend this drab film unless you are interested on the subject matter.
The Assassination of Trotsky
(1972)
Good starting point...
5 March 2012
Doubtless, one of the greatest tragedies ever inflicted upon mankind was the rise and spread of communism in the 20th century. For the ideology to control the masses, millions were killed and large segments of the population were imprisoned or sent to labor camps. Several countries were destroyed and the hatred among classes became the basis of the "International movement" for world domination.
A big mess like that should never be forgotten and that's why I encourage everybody, especially young people, to be well informed on all matters pertaining to the communist horrors. Now for the film review I must start mentioning that "The Assassination of Trosky" is not an anti-communist film, nor is it anti-Soviet or anti-Stalin or anti-anything. I can't even vouch for its historical accuracy but I still recommend it for the importance of the subject matter. In short for those who totally ignore who Trosky was and his place on the Soviet debacle this could be a good place to start.
The 1972 film boasts a prestigious cast of actors and an intelligent director but somehow those ingredients don't add up to a good movie. I can't place my finger on it but it could be the sometimes vague script, the slow moving start or even some of the performances. I may get grief for saying this but I found Richard Burton totally miscast as the Russian revolutionary and you can tell he's wearing a fake goatee a mile away. As the movie progresses there are some moments in which he shines but overall he comes through too Shakespearean to be credible.
Meanwhile the character of the assassin, as played by the great Alain Delon, is never given the opportunity to be for real. Mr. Delon plays it full of nervous ticks like he doesn't understand what motivated Mercader, the real killer, to embark in such a gruesome mission. Maybe there was no research that could inform him that his character was the son of Caridad, a Cuban lady who has gone down in history as the ultimate mother from hell. The lady, who after her marriage to a Spanish rich guy, showed signs of mental instability, raised all her sons to be servants of the communist international movement. (For an excellent presentation of the Mercader character and the whole Trosky affair try to see the 1996 award winning documentary "Storm The Skies", a real gem.)
As much as I love Romy Schneiner, I have to guess that her character is a total fabrication in order to pair her again with real life ex-amour Delon and to show them again loving and fighting. The producers must have thought that including her would give the film an extra boost at the box office and maybe it did. Although she gets briefs chances to display her histrionics as Delon's lover and Burton's secretary she seems to belong in a different movie. Of the actors only Valentina Cortese seems credible as the devoted Trosky wife.
In short I recommend this film with reservations. Some of you might even like the scene where Trosky gets killed and the premonition at the bull ring with all its cinematic gore but I really hope that it will turn you on into a deeper understanding of Soviet cruelty and the horrible things that happened not to long ago. It could happen again, you know?
A big mess like that should never be forgotten and that's why I encourage everybody, especially young people, to be well informed on all matters pertaining to the communist horrors. Now for the film review I must start mentioning that "The Assassination of Trosky" is not an anti-communist film, nor is it anti-Soviet or anti-Stalin or anti-anything. I can't even vouch for its historical accuracy but I still recommend it for the importance of the subject matter. In short for those who totally ignore who Trosky was and his place on the Soviet debacle this could be a good place to start.
The 1972 film boasts a prestigious cast of actors and an intelligent director but somehow those ingredients don't add up to a good movie. I can't place my finger on it but it could be the sometimes vague script, the slow moving start or even some of the performances. I may get grief for saying this but I found Richard Burton totally miscast as the Russian revolutionary and you can tell he's wearing a fake goatee a mile away. As the movie progresses there are some moments in which he shines but overall he comes through too Shakespearean to be credible.
Meanwhile the character of the assassin, as played by the great Alain Delon, is never given the opportunity to be for real. Mr. Delon plays it full of nervous ticks like he doesn't understand what motivated Mercader, the real killer, to embark in such a gruesome mission. Maybe there was no research that could inform him that his character was the son of Caridad, a Cuban lady who has gone down in history as the ultimate mother from hell. The lady, who after her marriage to a Spanish rich guy, showed signs of mental instability, raised all her sons to be servants of the communist international movement. (For an excellent presentation of the Mercader character and the whole Trosky affair try to see the 1996 award winning documentary "Storm The Skies", a real gem.)
As much as I love Romy Schneiner, I have to guess that her character is a total fabrication in order to pair her again with real life ex-amour Delon and to show them again loving and fighting. The producers must have thought that including her would give the film an extra boost at the box office and maybe it did. Although she gets briefs chances to display her histrionics as Delon's lover and Burton's secretary she seems to belong in a different movie. Of the actors only Valentina Cortese seems credible as the devoted Trosky wife.
In short I recommend this film with reservations. Some of you might even like the scene where Trosky gets killed and the premonition at the bull ring with all its cinematic gore but I really hope that it will turn you on into a deeper understanding of Soviet cruelty and the horrible things that happened not to long ago. It could happen again, you know?
Yo soy ésa
(1990)
A poor excuse for a movie...
29 May 2010
Maybe I was expecting more from director Sanz and from star Pantoja. Maybe I was not in the "right mood" when I saw it the first time AROUND and went ahead a second and third time. The fact is that I tried really hard to like this film and ended up detesting it. You see, I'm a big fan of flamenco and "coplas" and it kills me when I see the genre manipulated and misrepresented.
Producer Luis Sanz was the inspiring force behind "Las Cosas del Querer" (1989) and did a hell of a good job with director Jaime Chaverri turning the pseudo biopic of singer Miguel De Molina into a moving tribute to the "copla" genre and its most famous authors. And they did it in spite of the limited vocal range of its stars Angela Molina and Manuel Bandera by highlighting the singers personal charms, their excellent on camera chemistry, their authentic bravado singing "coplas" and a down-to-earth approach. In "Yo Soy Esa" (1990) Sanz takes over the direction and tries to revive his previous hit film using this time popular "copla"/pop singer Isabel Pantoja. Unfortunately, although she has a powerful voice and a dramatic style, she uses them here as...how can I best describe it? ...as bulls running the streets of Pamplona during the San Fermin fiestas. Quite overwhelming to say the least. I found myself praying: Oh great Concha Piquer who art in heaven... Forgive this bitch because she doesn't know what she's doing...
The only good thing I can say about Miss Pantoja is that she is indeed a good looking woman and has the contagious grace of her Seville countrymen. I can't write anything about her acting and the acting of her handsome leading man Jose Coronado because they are non-existent which becomes more painfully obvious by the performances of a great supporting cast which includes Maria Asquerino, Juan Luis Galiardo, Carmen Bernardos and Loles Leon. The script of a film within a film is confusing and predictable at the same time and the only redeeming quality for this atrocious excuse for a movie is the crisp color photography.
Producer Luis Sanz was the inspiring force behind "Las Cosas del Querer" (1989) and did a hell of a good job with director Jaime Chaverri turning the pseudo biopic of singer Miguel De Molina into a moving tribute to the "copla" genre and its most famous authors. And they did it in spite of the limited vocal range of its stars Angela Molina and Manuel Bandera by highlighting the singers personal charms, their excellent on camera chemistry, their authentic bravado singing "coplas" and a down-to-earth approach. In "Yo Soy Esa" (1990) Sanz takes over the direction and tries to revive his previous hit film using this time popular "copla"/pop singer Isabel Pantoja. Unfortunately, although she has a powerful voice and a dramatic style, she uses them here as...how can I best describe it? ...as bulls running the streets of Pamplona during the San Fermin fiestas. Quite overwhelming to say the least. I found myself praying: Oh great Concha Piquer who art in heaven... Forgive this bitch because she doesn't know what she's doing...
The only good thing I can say about Miss Pantoja is that she is indeed a good looking woman and has the contagious grace of her Seville countrymen. I can't write anything about her acting and the acting of her handsome leading man Jose Coronado because they are non-existent which becomes more painfully obvious by the performances of a great supporting cast which includes Maria Asquerino, Juan Luis Galiardo, Carmen Bernardos and Loles Leon. The script of a film within a film is confusing and predictable at the same time and the only redeeming quality for this atrocious excuse for a movie is the crisp color photography.
El último cuplé
(1957)
Sarita, the songs and Eastmancolor make endurable classic!
22 March 2008
Sorry but the writers of previous commentaries in this section seem to be confusing "El Último Cuplé" with another movie or movies. One of them writes that this film "bears a resemblance to Dama de las Camelias. " The writer is probably confusing "El Último Cuplé" with another Sara Montiel vehicle titled "La Bella Lola" (1962) which is based on "Camille" the classic novel by Alexander Dumas Jr.
Another writer states that the film includes "nearly every major facet of Spanish culture" and names as examples, "main regional costumes and dances, bullfighting rituals, the devotion to the Virgin Mary and local popular Saints, women's tragic position in life dedicated to their men, etc." Except for the fact that one of the characters in "El Último Cuplé" is a bullfighter all the other claims in that commentary are simply false. "Cuplé" is not about regional costumes or dances, the Virgin Mary or saints do not show up anywhere, and the plot has nothing to do with "women's tragic position in life." If there is one thing clear in this film is that the main character, as played by Sarita Montiel, is a sexually-charged liberated woman so I have no idea where the commentator got that outrageous information.
It is tragic that some confused or irresponsible people write comments and provide misleading false data in these pages and nobody checks its accuracy. Of course, to check everything would be an impossible task for IMDb but there should be a warning to every writer that before they post anything they must be absolutely sure about the assertions being made. Maybe a proper warning should read: "do not comment on any film you have not seen in more than ten years." Regarding "El Ultimo Cuplé" my opinion is that director Juan de Orduña and the screenwriters hit the jackpot by choosing the right cuplés (songs) in order to support the film's story line. By doing this, the not so brilliant script becomes credible and moving, impacting the viewers and making this low budget production an unforgettable experience. Photographer José Aguayo should also be commended for his use of Eastmancolor and making the film look like a much more expensive production while composer Juan Solano deserves praise for writing the soundtrack music and arranging all the songs. But, lets face it: Sara Montiel's beauty and talent as both an actor and a singer makes the whole package irresistible.
"El Ultimo Cuplé" was recently digitally restored and released in DVD by Buena Vista Home Entertainment, unfortunately in Spain only. A non-restored version was issued in the United States on a cheap double-feature DVD by SlingShot Entertainment in Burbank, California and has been sold at Wal-Mart, Amazon.com and other on-line stores. Pity! "El Ultimo Cuplé" deserves a deluxe edition, restored, with surround sound and extras including English subtitles.
Another writer states that the film includes "nearly every major facet of Spanish culture" and names as examples, "main regional costumes and dances, bullfighting rituals, the devotion to the Virgin Mary and local popular Saints, women's tragic position in life dedicated to their men, etc." Except for the fact that one of the characters in "El Último Cuplé" is a bullfighter all the other claims in that commentary are simply false. "Cuplé" is not about regional costumes or dances, the Virgin Mary or saints do not show up anywhere, and the plot has nothing to do with "women's tragic position in life." If there is one thing clear in this film is that the main character, as played by Sarita Montiel, is a sexually-charged liberated woman so I have no idea where the commentator got that outrageous information.
It is tragic that some confused or irresponsible people write comments and provide misleading false data in these pages and nobody checks its accuracy. Of course, to check everything would be an impossible task for IMDb but there should be a warning to every writer that before they post anything they must be absolutely sure about the assertions being made. Maybe a proper warning should read: "do not comment on any film you have not seen in more than ten years." Regarding "El Ultimo Cuplé" my opinion is that director Juan de Orduña and the screenwriters hit the jackpot by choosing the right cuplés (songs) in order to support the film's story line. By doing this, the not so brilliant script becomes credible and moving, impacting the viewers and making this low budget production an unforgettable experience. Photographer José Aguayo should also be commended for his use of Eastmancolor and making the film look like a much more expensive production while composer Juan Solano deserves praise for writing the soundtrack music and arranging all the songs. But, lets face it: Sara Montiel's beauty and talent as both an actor and a singer makes the whole package irresistible.
"El Ultimo Cuplé" was recently digitally restored and released in DVD by Buena Vista Home Entertainment, unfortunately in Spain only. A non-restored version was issued in the United States on a cheap double-feature DVD by SlingShot Entertainment in Burbank, California and has been sold at Wal-Mart, Amazon.com and other on-line stores. Pity! "El Ultimo Cuplé" deserves a deluxe edition, restored, with surround sound and extras including English subtitles.
La dama regresa
(1996)
Miss Sarli deserves better... and so does the public!
5 February 2008
I guess Mr. Polanco must have seen "Sextette," that 1978 embarrassment that brought back Mae West at age 80+ as a sex siren in full swing. He probably thought "if they can get away with it in the U.S. I can do the same here" so he fetched retired film star Isabel Sarli, Argentina's most outstanding contribution to the Grade Z sexexplotation genre and built a movie around her. The fact that the lady is past 60 years old doesn't seem to bother him so he dresses her up in what he hopes is an elegant and sexy wardrobe, makes her stand in ridiculously designed sets, surrounded by exotic motifs and eye-catching props and proceeds to photograph her under diffused lighting through camera lenses that contain several layers of filters. So much for the director's creativity. Miss Sarli seems quite embarrassed by all the gimmicks and it gets to the point when one feels sorry for her and decides to give the film a chance. Then you realize that the screenplay is also a disaster, that the proceedings are too slow to sustain life and that the whole thing is just one big messy waste of time. The saddest thing is that Polanco, with a little imagination and a team of good comedy writers could have done a nice, entertaining take-off of the awful films Miss Sarli did in her youth under the direction of her husband Armando Bo. It could have redeemed her by highlighting her sense of humor instead of her boobs, but not such a luck. Mr. Polanco seems too fascinated by the fact that he lured the retired star back from oblivion without really knowing what to do with her. Pity!
Camelia
(1954)
Mexican "Camille" Disappoints
27 June 2007
Beautiful María Félix was the ultimate "femme fatal" of Mexican cinema and it was unavoidable that she'd play Marguerite Gautier at some point in her career. The idea is not far-fetched except that director Roberto Gavaldón wanted a totally different "Camille" and he commissioned a script that would be both original and faithful to the original "Lady of the Camellias" by Alexandre Dumas, Jr. Of course, you would need a very creative writer, or group of writers, to achieve such a task so Mr. Gavaldón and producer Gregorio Wallestein decided to do it themselves. To keep within commercial parameters they also hired writer Edmundo Báez, famous for hallucinating all those scripts for Libertad Lamarque tearjerkers. The results are so confusing that it's hard to tell if you are watching a serious film or somebody is playing a joke on you. Let me give you the improbable basic plot.
Camellia (María Félix ) is a celebrated stage actress achieving great success playing the central character in "The Lady of the Camellias" at a local theater. However her private life mirrors the part she is playing on stage, a lost woman who sells her love in order to maintain her lifestyle. In the play, she drinks like a sailor while in "real life" Camelia is a drug addict. In "Lady of the Camellias" Marguerite falls for Armand, a socialite who could be her salvation. Backstage, Camelia falls for Rafael (Jorge Mistral), a famous bullfighter that wants to take her out of the vicious circle she is in and make her happy. Both Marguerite and Camelia know they are doomed.
Confusing? You bet! Especially when sometimes Camelia, playing Marguerite, utters dialog on stage that leaves you wondering if it's the real thing or the script. The only relevant thing in this debacle is the reference to drug addiction, namely heroin, very rare in Mexican films of the 1950s. Also a couple of love scenes between gorgeous Maria and strikingly handsome Mistral have a certain value from an erotic perspective. Everything else can be painlessly trashed out and forgotten for everybody' sake. If you like the subject, stick with the Garbo-Cukor 1936 version "Camille"
Camellia (María Félix ) is a celebrated stage actress achieving great success playing the central character in "The Lady of the Camellias" at a local theater. However her private life mirrors the part she is playing on stage, a lost woman who sells her love in order to maintain her lifestyle. In the play, she drinks like a sailor while in "real life" Camelia is a drug addict. In "Lady of the Camellias" Marguerite falls for Armand, a socialite who could be her salvation. Backstage, Camelia falls for Rafael (Jorge Mistral), a famous bullfighter that wants to take her out of the vicious circle she is in and make her happy. Both Marguerite and Camelia know they are doomed.
Confusing? You bet! Especially when sometimes Camelia, playing Marguerite, utters dialog on stage that leaves you wondering if it's the real thing or the script. The only relevant thing in this debacle is the reference to drug addiction, namely heroin, very rare in Mexican films of the 1950s. Also a couple of love scenes between gorgeous Maria and strikingly handsome Mistral have a certain value from an erotic perspective. Everything else can be painlessly trashed out and forgotten for everybody' sake. If you like the subject, stick with the Garbo-Cukor 1936 version "Camille"
Utopía
(2004)
Socialist Culture Exposed!
13 May 2007
This little film by Arturo Infante throws a bittersweet dart at Cuba's much tooted free for all educational system. In three short vignettes it shows the results obtained by Communist dictatorship after almost fifty years of manipulating education and culture. It is almost uncanny how Infante can say so much in such a short time. It is also strange that he gets away with it all considering the tight censorship that reigns inside the ICAIC, Cuba's Institute of Film. But the deed is done and we should be all grateful for it although distribution of this little gem is at best erratic.
Vignette #1 takes us to an empty classroom where a teacher is coaching his best student, a girl in her teens, in the reading of a classic work of literature which the girl must deliver at some upcoming school function. It becomes obvious that this girl can not pronounce the highly polished Spanish of the piece and can only communicate in the trashy slang she has learned in her barrio. Utter frustration from the suffering and well-meaning educator.
Vignette #2 takes place at a dilapidated patio where four Cubans gather for a friendly game of dominoes. They talk in their Cuban lingo and the conversation turns to music and to baroque-style constructions. It's very hard to follow what they are saying but soon there's an argument that turns unreasonably violent. The only thing clear is that these guys, shining examples of Cuba's revolutionary men, are quick-tempered and experts at foul language and bad manners. Wild, uneducated beasts in the country of free education.
Vignette #3 has also a slum setting where a manicurist is providing her services to a woman while another waits impatiently for her turn. The conversation here turns to opera and each lady gives her opinion of who is the best soprano. Soon they are at each others hair and high opera has become an excuse for these women to unleash their trashy natures, vent their anger and shout the foulest obscenities in Cuban lingo. One of them underlines her point by gesturing to her crotch as if her ovaries were the ultimate source of knowledge. Totally incompatible with the world of opera.
The film reminds me of a conversation I had once with a journalist that had recently visited Cuba. He described it as "the empire of trashiness."(El imperio de la chusmeria) I protested: How can that be when people receive free education. The journalist replied: No real education there... just teaching. (No hay educación... solo enseñanza.) At that time I did not fully understand his words. Now I do.
Vignette #1 takes us to an empty classroom where a teacher is coaching his best student, a girl in her teens, in the reading of a classic work of literature which the girl must deliver at some upcoming school function. It becomes obvious that this girl can not pronounce the highly polished Spanish of the piece and can only communicate in the trashy slang she has learned in her barrio. Utter frustration from the suffering and well-meaning educator.
Vignette #2 takes place at a dilapidated patio where four Cubans gather for a friendly game of dominoes. They talk in their Cuban lingo and the conversation turns to music and to baroque-style constructions. It's very hard to follow what they are saying but soon there's an argument that turns unreasonably violent. The only thing clear is that these guys, shining examples of Cuba's revolutionary men, are quick-tempered and experts at foul language and bad manners. Wild, uneducated beasts in the country of free education.
Vignette #3 has also a slum setting where a manicurist is providing her services to a woman while another waits impatiently for her turn. The conversation here turns to opera and each lady gives her opinion of who is the best soprano. Soon they are at each others hair and high opera has become an excuse for these women to unleash their trashy natures, vent their anger and shout the foulest obscenities in Cuban lingo. One of them underlines her point by gesturing to her crotch as if her ovaries were the ultimate source of knowledge. Totally incompatible with the world of opera.
The film reminds me of a conversation I had once with a journalist that had recently visited Cuba. He described it as "the empire of trashiness."(El imperio de la chusmeria) I protested: How can that be when people receive free education. The journalist replied: No real education there... just teaching. (No hay educación... solo enseñanza.) At that time I did not fully understand his words. Now I do.
Salsa rosa
(2002–2006)
TV Interviews SHOULD NOT be included in filmography
21 August 2006
"Salsa Rosa" is just one of many television talk shows produced in Spain in which celebrities are paid handsomely for an on-air interview to discuss their private lives. Miss Montiel, as Spain's biggest movie star ever, and one of the most controversial, appears on these "gossip shows" quite frequently. However, TV interviews should not be listed on a filmography. I ask fans and IMDb contributors to stop at once adding these TV interventions and to delete the ones that are already there. They only serve to clutter the actor's filmography and to mislead researchers. Let's hope that IMDb might see the light and create a new category for TV appearances. If that happens you will be able to list the never-ending Montiel interviews on "trash-TV" shows such as "Salsa Rosa".
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