Demonios en el jardín (1982)

Juan is the handsome, irresponsible, best-loved second son. When his older brother, who runs the family's black-market business with their steel-willed mother, marries Juan's lover Ana, ... See full summary »

Director:

Manuel Gutiérrez Aragón

Writers:

Manuel Gutiérrez Aragón, Luis Megino

Stars:

Ángela Molina, Ana Belén, Encarna Paso

12 wins & 5 nominations.

Cast

Cast overview:
Ángela Molina	...	Ángela
Ana Belén	...	Ana
Encarna Paso	...	Gloria
Imanol Arias	...	Juan
Eusebio Lázaro	...	Óscar
Álvaro Sánchez Prieto	...	Juanito
Francisco Merino	...	Traveling Salesman
Rafael Díaz	...	Osorio
Pedro del Río	...	projectionist
Eduardo MacGregor	...	Doctor
Luis Lemus	...	clerk
Paco Catalá	...	Vendedor ambulante
Pedro Basanta	...	specialist
Amparo Climent	...	Doncella
Jorge Roelas	...	Tono (as Jorge Luis Roelas)

Storyline

Juan is the handsome, irresponsible, best-loved second son. When his older brother, who runs the family's black-market business with their steel-willed mother, marries Juan's lover Ana, Juan heads for Madrid to work for Franco. Juan also leaves behind his impoverished cousin, Ángela, pregnant with his son. Jump ten years. Juanito, the lad, has rheumatic fever. The doctor says to pamper the boy. Ángela, Ana, and his grandmother comply. As Juanito recovers, his father returns in desperate need of cash; Juanito witnesses a theft blamed on his innocent mother. Things come to a head at a saint's-name party for father and son. Jealousies, betrayals, and a bullet converge.

---

Plot Keywords:

sex | female nudity

---

Genres:

Drama

---

Certificate:

R

Details

Country:

Spain

Language:

Spanish

Release Date:

18 October 1982 (Spain)

Also Known As:

Demons in the Garden

Company Credits

Production Co:

Luis Megino

Technical Specs

Runtime:

97 min

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.66 : 1

Did You Know?

Connections

Features Anna (1951)

User Reviews

dreadfully dull

This film is, for the most part, melodramatic and uninteresting; the characters didn't interest me; the few scenes that might have been good suffered from (I'm assuming) such a constricted budget that the closeups that would have been necessary to give the scenes weight were not filmed. And usually the number of closeups in a movie is not anything that you think of, except that here there's such a conspicuous lack of them that instead of watching the movie you start wondering exactly _how_ small the budget was.

Long takes from one angle are not always a problem; both Ingmar Bergman and Abbas Kiarostami use them to great effect. But for my money, this film ended up looking like a documentary of something possibly not worth documenting.