7.0/10
64
2 user 1 critic

Los atracadores (1962)

The film is divided into three parts: 'Restlessness', 'Violence' and 'Death', to explain the motivations, evolution and defeat of three young misfits from Barcelona who end up being robbers... See full summary »

Director:

(as Rovira-Beleta)

Writers:

(as Francisco de A. Rovira Beleta), (novel) | 1 more credit »
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3 wins & 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
...
El Señorito
Manuel Gil ...
Ramón Orea Bellido 'Chico'
...
Carmelo Barrachina 'Compadre' (as Julian Mateos)
Agnès Spaak ...
Isabel (as Agnes Spaak)
Sonia Bruno ...
Chica de la fábrica (as Antonia Oyamburu)
Rosa Fúster ...
(as Rosa Fuster)
Carlos Ibarzábal ...
Padre de Ramón (as Carlos Ibarzabal)
Alejo del Peral ...
Hermano de Ramón
Mariano Martín ...
Entrenador de fútbol (as Mariano Martin)
Carmen Pradillo
Carlos Miguel Solá ...
César (as Carlos Miguel Sola)
Camino Delgado ...
Madre de Ramón (as Mª Camino Delgado)
J. Algarra Díaz
Ana Morera
Gustavo Re ...
Cómplice del mago que acosa a Isabel
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Storyline

The film is divided into three parts: 'Restlessness', 'Violence' and 'Death', to explain the motivations, evolution and defeat of three young misfits from Barcelona who end up being robbers. The way of crime is an easy way for them: a boy and a worker without a job or benefit are induced by 'el Señorito', the son of a rich lawyer. Together they form a band. Hard and violent, the film is made with a clear intention of social criticism and research of realism, culminating in a final scene that raised quite controversial. Written by jsanchez

Plot Summary | Add Synopsis

Plot Keywords:

based on novel | See All (1) »

Genres:

Crime | Drama

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Details

Country:

Language:

Release Date:

6 March 1964 (Finland)  »

Also Known As:

Les malfaiteurs  »

Filming Locations:


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Connections

References Party Girl (1958) See more »

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User Reviews

One film of the best Spanish Noir Cinema
26 August 2014 | by (Spain) – See all my reviews

Good raid Rovira Beleta in Noir Cinema after his previous "Hay Un Camino A La Derecha" and "El Expreso De Andalucía"; as occurring primarily in the first, the perspective used is a certain social analysis, looking at him the origins of the criminal phenomenon, this time played by three young men from different social classes, and for that matter, with different motivations for undertaking their criminal adventures.

The character nicknamed "El Señorito" is from a wealthy family, the son of a lawyer and law student himself; is little parental affection, together with the young infidelities warns triggered a penchant for crime, which is taken as a challenge or a rebellion. By contrast, "El Compare" is a guy very humble beginnings, marked by family uprooting, street life, and the allure of power conferred by weapons. Finally, Ramon, represents the working class jaded by the harshness of factory work, which, combined with little reward reporting, approaching the young to the world of crime. The criminal journey of three young men follow a marked crescendo in violence and drama, as the basis of some hooliganism, passing small robberies, leading after the crime, and finally punishment either death or prison.

Formally, it is a very accomplished film, with a great black and white photography, which seeks risky light contrasts, and some original, surprising in the Spanish film frames. Violence is captured starkly, both when it is sudden and when it develops slowly (notable end sequences, censored here and abroad). With good locations in Barcelona and correct interpretations in general, highlighting the Julian Mateos as the "Compare" fantastic, the major drawbacks of the film comes from a script that leaves loose ends or underdeveloped (the beginning of the relationship between the protagonists , awkward and rushed, the "love story" between "El Señorito" and Isabella, pretty forced, etc). Despite this the film is always interesting, well rounded, and does not shy away rough and uncomfortable issues, such as violence, marital infidelity, rape and the death penalty, an unusual circumstance in the Spanish cinema of the time, and makes highly recommended viewing. Finally note that throughout the film pays homage to other classic films of the genre, such as "Chicago thirties" Ray (praised by the players) or "Perfect Heist" Kubrick (on the poster of a film).


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