Eighth feature film by Luis García Berlanga Martí-, better known as Luis García Berlanga. The script, by Rafael Azcona and L. G. Berlanga, develops an original argument. They wheel in outdoor scenarios of Buenos Aires and in Argentina Sono Film studies. Produced by Cesareo Gonzalez and Atilio Mentasti to Argentina Sono Film and P. Gonzales Cesáreo C., was released in 1967.
The central theme of the story is given by the exploration and description of the relationship of the couple inevitably conflict, dissatisfaction and frustrations of life in common and the same inexorable problems generated by prolonged cohabitation of a man and a woman. The theme is a favorite of Berlanga and, simultaneously, one of the most attract his attention, but usually not placed first.
The dramatic action takes place in Buenos Aires over two years, in 1965/67. Ricardo Calaza (Bebán) is a successful entrepreneur, who co- directed society "Martinez and Calaza" dedicated to scrapping metal- hulled boats, whose capital participates in half with his partner Jose Martinez (Miranda). It takes some time married to Carmen (Bruno), (at the beginning of the story), devoted to housework. Marriage has entered a period of crisis because of Ricardo furtive relationships with other women and little attention paid to his wife, who is lonely and bored. Carlos is fond of car racing (cars rigged, mini-cars and electric models on rails), gets loose revenue, is superficial and confused. Carmen dreams of having a boutique, travel, socialize, make new friends, breaking the narrow confines of his family life and be free.
As in all movies Berlanga appears in one of his dialogues the word "Austro-Hungarian" fetish for him. Berlanga in his memoirs that he realized one day that in his first two films had put the little word. In "Bienvenido Mr. Marshall" it says: "It is a map that still exists as old Austro-Hungarian empire," in "Novio a la vista", the student under review before the Prince asked about the Austro-Hungarian . When Berlanga was finishing the filming of "La Muerte y el leñador" someone had told him not gotten the word plane was only an actor herding a mule pulling a cart. And he put the word in a way impossible. The man shook his whip and said "Arre Austro-húngarooo". In " La Boutique", also appears the word.'s When the two partners will buy an old boat and one says to say: "This is actually a junk boat , must have belonged to the Austro-Hungarian".
The short film comedy and drama. It is the fruit of long and productive professional partnership Azcona and Berlanga kept as writers for nearly 30 years (1959-1987), with work as accredited as "Plácido" (1961), "El Verdugo" (1963), "La Escopeta Nacional "(1977) and others. Analysts said the black lines brings Azcona, hard, bitter and pessimistic, while Berlanga contributes his iconoclastic vision and sarcastic and look hopeless. In the film we discussed Berlanga moderates his impulses and power iconoclastic sarcasm, caustic and poisonous. The result is an unusual work in his filmography, which analysts say is part of the author's atypical of films with "Vivan los novios" (1971) and "Tamaño natural" (1974).
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