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Rafael Gil was one of greatest Spanish movie directors . His work
includes "Huella de luz ", "La señora de Fatima ", "Don Quijote de la
Mancha " and "Camarote de lujo " . "La calle sin sol " is a marvelous
picture , a good combination of romance (Antonio Vilar and Amparo
Rivelles ), suspense ( a murder case ) , poetry and realism .
The movie has roots in Marcel Carne ( poetic realism ) and King Vidor, and reveals the great skill of Rafael Gil behind the cameras .
Don't forget "La calle sin sol ", a truly masterpiece .
"La Calle Sin Sol" is a film whose central story revolves around
"Mauricio", a Frenchman who fled his country and settled in Barcelona,
there are staying in the boarding house where "Pilar" works and both
are concerned about each other, but the relationship is hindered by a
fact happened in the neighborhood, an elderly woman is killed and
everything indicates that the murderer is "Mauricio", "Pilar" yet never
stops trusting innocence. It is a story without much background,
designed to excite and especially to entertain, which keeps the
intrigue from the beginning and that surprises us so special assembly
and its images, which also we, the viewers of today, surprising.
So the drama is unleashed, with a splendid and well planned photograph where the play of light and shadows are clear, provide the film an artistic side and the image becomes more striking in black and white. Similarly the frame is critical, photographic images are an example it is when Mauricio "Pilar" receives and opens the door where the food has to show it.
We see many planes accented with dramatic zoom, in which we see the faces, especially when "Pilar" suffers for love of "Mauricio", the drama is accentuated by the music introduced in key moments to thrill the audience, and the truth is which sometimes reaches so.
The director's attempt to innovate technically seen in the film, although the assembly is linear by cutting, uses sometimes fades to black, and highlights the part where two images overlap, the images are also considerably more quality in previous films of the period, less abrupt cuts and more suited to the current film and sharper images. On the other hand the fire scene surprises us with its capacity and credibility of the images, this scene has reached the highest climax of the whole movie, just when we discover who the real murderer, one of the characters who least expect it, and to the surprise of the spectator, after revealing his crime continues to act negatively, shows no remorse, is something unconventional and do not expect.
The ellipsis is used with great skill, the theatrical style that stands out in the Spanish cinema in its origins is not so obvious in this film and see how it is shaping the language of film, this adds value to the film, which despite 1948 being no longer so far away for us. Theatricality if we see more on the performance of the interpreters, who are sometimes forced and we draw from history, and cries sometimes forced and exaggerated action scenes are examples of this lack of credibility. In short, a film that never ceases to amaze us even in our time that does the job, entertaining us with no decline in the rate and is also a document of the customs of the time and as was Barcelona and its streets. A film suitable for all ages and that is certainly a good start to penetrate and understand the origin of Spanish Cinema.
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