7.2/10
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4 user 1 critic

Historias de la radio (1955)

Three different stories whose central axis are radio listeners: several contestants have to get to a radio station studio dressed as Eskimo, a thief answering a call in the house which is ... See full summary »
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2 wins. See more awards »

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Cast

Cast overview, first billed only:
...
Gabriel
...
Carmen
...
Inventor
Ángel de Andrés ...
Ladrón
José María Lado ...
Don Senen
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Don Anselmo
...
Esposa de Don Anselmo
Juanjo Menéndez ...
Alfredo
...
Chófer de la camioneta
...
Señor gordo
Pedro Porcel ...
Párroco
José Luis Ozores ...
El cura
Adrián Ortega ...
El alcalde
José Orjas ...
Ayudante del inventor
Juan Vázquez ...
Señor calvo
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Storyline

Three different stories whose central axis are radio listeners: several contestants have to get to a radio station studio dressed as Eskimo, a thief answering a call in the house which is stealing and a school teacher who participates in a contest to get money to cure a child of his village. The stories are linked by the love story of a speaker and his fiancée and through interviews of real celebrities from the time of film. Written by jsanchez

Plot Summary | Add Synopsis

Plot Keywords:

quiz show | radio | See All (2) »

Genres:

Comedy

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Release Date:

9 November 1955 (Portugal)  »

Also Known As:

...e il cielo rispose...  »

Filming Locations:


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Did You Know?

Connections

Referenced in Radio Days (1987) See more »

Soundtracks

Pepita
Written by Los Xey
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User Reviews

Dated, wincingly sentimental, mildly entertaining
9 May 2004 | by (Guayaquil, Ecuador) – See all my reviews

By the time he made this, Sáenz de Heredia (who also filmed the Generalísimo's pungent attempt at a movie script, "Raza") was as efficient a facilitator of respectable, high-gloss, low-calorie regime-friendly entertainments as they come. Where this one deserves most credit is in the storyline, which contrives to hang several short tales onto a single narrative thread. The device works, and this in combination with a suavely persuasive offscreen narrator gives a sense that "the radio" is not merely a plotting pretext, but the object of a genuinely felt tribute. Of course we're talking not about the radio as instrument of government propaganda, nor as purveyor of mindless muzak, but as something that gets fat middle-aged men out of bed in the morning (to do slimming exercises), gives humble inventors the chance to win money for their prototypes (by dressing up as eskimos), persuades thieves to reach agreement with their intended victims in donating money to the Church, and allows old schoolmasters to win money in a quiz game called "Double or Nothing", in order (natch) to send a sick child to Stockholm for treatment.

When Heredia tries his hand at straightforward slapstick, as with the José Isbert number of the eskimo-inventor with the dangerous dog early in the film, it's quite nicely done, and the laughs come easily. When he laces the comedy with sentimentality, and deliberately racks up the sentiment in a steady crescendo throughout, it would take a very undemanding (or old-fashioned) audience nowadays not to get restless. That a dispute (for example) between would-be burglar and intended victim is resolved by a Parish priest is perhaps sociologically admissible; that this priest should be portrayed as a paragon of wisdom and Christian virtues is perhaps understandable given ths strictures of censorship and so on; but the sentimental excesses of this movie go well beyond that, and include a penitent bread-thief in a church, a dying boy whose every other script sentence contains a Noble Gesture; and a schoolmaster who is so well aided by the praying boy and the intercession of Saints, that he develops a previously unsuspected footballing career. If this kind of thing doesn't stand up so well nowadays (not to mention statues of saints that come alive) it's perhaps just a question of fashion. All the same, you end up thanking your nearest St Antony for the genius of a Berlanga, who could make a film funny without playing any of the cheap sentiment cards that this movie has recourse to. Watchable but terminally dated.


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