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Cast

Credited cast:
Xan das Bolas
Eduardo Calvo ...
Fidel
Arturo Castro 'Bigotón'
Francisco de Cossío
Beni Deus
Enrique Diosdado ...
Don Enrique
Félix Fernández ...
Obrero
María Francés
Matilde Guarnerio
Rufino Inglés
Cándida Losada ...
La madre
Julián Muñoz
Guillermo Méndez
Fernando Nogueras ...
Ramón
Nicolás D. Perchicot
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9 December 1955 (Spain)  »

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Pride  »

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A great Spanish classic
19 November 2013 | by (Spain) – See all my reviews

Based on a story as old as injustice , in the clash between two families of ranchers, set in black hard post Spanish Civil War, located in a harsh and arid Castilian village in which the river is a source of life for the that employees of both families were killed in the initial conflict defending the hand that feeds them.

"Laura" (Marisa Prado) , arrival from Paris where she was sent by her mother "Teresa" (Candida Losada), hard and sturdy woman on the death of her husband took over the vast estate, and , "Enrique Alzaga" (Alberto Ruschel), son of the enemy family patriarch "Don Enrique" (Enrique Diosdado) .

With these precedents, the excellent director Manuel Mur Oti through his right eye when he photographs the ancient customs of the country people , mixture of expressionism and neo-realism as a result we have a magnificent portrait of how well that Spanish writer Antonio Machado described in " Campos de Castilla " (with scenes of the fight between the two factions worthy of "Pelea De Campesinos "by Goya ), which through the excellent screenplay by Mur in collaboration with the Mexican exile in Spain , José Suárez Carreño (finalist Nadal prize winning respectively, Oti with his only published novel, "Destino Negro" and Carreño with "Las ültimas Horas " ) , create a plot development in key Western with a superbly portrayed landscapes (much of the tape is shot in the Picos De Europa and the ancient town of Riaño, (now buried under the waters of a reservoir and was the birthplace of actor Imanol Arias) and a cast on their best work (especially Candida and Marisa Prado Losada performing one of the best portraits of hard and torn women ) gives as a result a good movie reference .

The argument is surprising because the solution to the conflict comes from random, it involves adopting pessimism about the possibilities of understanding among men, and this was not common in Spanish cinema of the 50s.

"Orgullo" argument reminds us of a great classic American film three years later, as "The Big Country" Wyler, which speaks in favour of its universality.


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