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Agustín Díaz Yanes
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When they are sitting on top of a hill (Coordinates for Google Maps: 40.389917,-3.681021) and watching trains and a road in front of them, you can see Arroyo Abroñigal train station. You can see "Puente de los Tres Ojos" in Vallecas for a few seconds. This bridge was replaced by a bigger one (Coordinates: 40.394525,-3.673983), against Vallecas' people will. The brigde gave "Puente de Vallecas" its name. The bridge had to be demolished at night. See more »
This movie makes beautiful use of Flamenco music, and does it better than any I've seen. Carlos Saura obviously cares deeply about the medium, as he also made a movie called Flamenco (although it's just a concert piece).
The story is very basic; it deals with the adventures of young street-criminals in Madrid who graduate from car-theft to bank-robbery. What's interesting is the way Saura makes us care about these "hijos de nadie", who are kind and decent people 50% of the time, and feel they have no future in regular society. But the movie never sentimentalizes them - they do exactly what you'd expect such people to do.
Dialogue is kept to a minimum; a lot of the communication is via the graceful gestures the Spanish are so good at. This allows extra time for the soundtrack, and it really gets you into the spirit of the film, which is really more like dance than acting.
Flamenco originated among the dispossessed, among beggars and gypsies condemned to live in waste places and junkyards on the edge of town, and the scenes of the barren housing-projects on the fringes of Madrid really bring this feeling to life.
Deprisa, Deprisa conveys a better understanding of the spirit of Flamenco than more elegant movies dedicated to the subject. (And Carlos Saura is a genius).
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