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Al otro lado del espejo (1973)

6.4
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Ratings: 6.4/10 from 82 users  
Reviews: 5 user | 4 critic

A nightclub singer is haunted by the ghost of her late father. The dead man summons her through a mirror, forcing her to commit a series of violent crimes.

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(screenplay), (story), 2 more credits »
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Title: Al otro lado del espejo (1973)

Al otro lado del espejo (1973) on IMDb 6.4/10

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Cast

Cast overview, first billed only:
Emma Cohen ...
Ana Olivera / Annette Whitman
Philippe Lemaire ...
Pipo
Françoise Brion ...
Carla
Alice Arno ...
Tina
Howard Vernon ...
Ana's father
...
Bill (as Robert Wood)
Ramiro Oliveros ...
Miguel Ferrara / Michel
Carmen Carbonell ...
Tante Elvire / Aunt Elvira
Ada Tauler ...
Estefania - Bill's Wife (as Adela Tauler)
Roger Sarbib ...
Count Herman
Wal Davis ...
Arturo Barbour
Chantal Broquet ...
Angela
...
The Pianist
María Bassó ...
Elvira
Nicole Guettard
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Storyline

A nightclub singer is haunted by the ghost of her late father. The dead man summons her through a mirror, forcing her to commit a series of violent crimes.

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Genres:

Drama | Horror

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Details

Country:

|

Language:

Release Date:

3 September 1975 (France)  »

Also Known As:

Inside a Dark Mirror  »

Box Office

Gross:

ESP 9,855,682 (Spain)
 »

Company Credits

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Technical Specs

Runtime:

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Did You Know?

Crazy Credits

In the end-credits of the Spanish version, Francoise Brion is credited as Carla and Alice Arno is credited as Tina but in the film, it's the other way around. See more »

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User Reviews

 
Ecstatic killing
11 May 2013 | by (Greece) – See all my reviews

Here is another of those elusive Franco films that in its proper context is neither horror, nor porn or sexploitation, in spite of the hardcore inserts, but wandering around mind.

Now I really appreciate Franco. Like a good friend you have known forever, I appreciate him, in part, because of how familiar his flaws and habits. So I won't mollycoddle him or pretend in his face: he was often sloppy, charmless as a thinker and embarrassing in a number of ways. Whereas his fans read profundity in this film, for me all the stuff about mirrors, madness and theater as staged inner life are as sophomoric as it gets, for instance that whispers of a damaged mind will issue from a mirror, not interesting in the least.

Let me say here that it's not the elements themselves, which others like Rivette, Resnais and Ruiz have used to the same effect, but the narrative distance they are placed away from the viewer which I find superficial.

As for the notion expounded in another comment here that next to Ford (!) and Godard, Franco is one of few directors who have deeply probed in their cinema the illusory world of appearances, that position is simply unfathomable and bizarre.

But I accept all that as part of the experience of shared intuition that is possible with a good friend, which deep down I find fulfilling—for me, Franco is worth knowing because, going past conscious narrative impositions, I can relax in his fluid fabric of images, which he seems to stir up from life as he walks through it, striking a spontaneous arisal akin to memory. The more of his films I watch, esp. of this elusive kind, the more I relax because I have memories of previous travels.

It's all in the last scene here.

Leading up to it we have, as said very obviously layered madness about a woman reliving guilt from her past, inserts of incestual cunnilingus and hardcore sex (in the Italian version I saw), and relaxed wandering around bars and later exotic Madeira. As a whole, the film evokes in plot and tone Franco's films with Soledad, She Killed in Ecstasy and Eugenie. It is not as 'pure' as Female Vampire, nor as testing.

The idea, tremendously simple, is that a woman wanted to get married, her beloved sister killed herself from desperation and perhaps spurned love, and she carries this burden in her unfulfilled affairs with men.

The Spanish version without the inserts may flesh out the story a bit more, but story is not the main point, for me it's swimming across to where images acquire a sort of life of their own.

In the last scene we have the wandering, the madness, the repressed emotion, all coalesce together in a beautiful way as a bridal veil flutters in the wind.


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