This is the story of a young Irish woman who comes to Spain to escape from the pressures she feels about her impending marriage to a political activist in Ireland. But in Spain in the 1930'... See full summary »
An intimate story of the enduring bond of friendship between two hard-living men, set against a sweeping backdrop: the American West, post-World War II, in its twilight. Pete and Big Boy ... See full summary »
In 1931, a young soldier (Fernando) deserts from the army and falls into a country farm, where he is welcomed by the owner (Manolo) due to his political ideas. Manolo has four daughters (... See full summary »
Fernando Fernán Gómez,
HEAD IN THE CLOUDS is a sweeping romantic drama set in 1930's England, Paris, and Spain. Gilda Bessé shares her Paris apartment with an Irish schoolteacher, Guy Malyon, and Mia, a refugee ... See full summary »
This is the story of a young Irish woman who comes to Spain to escape from the pressures she feels about her impending marriage to a political activist in Ireland. But in Spain in the 1930's, taking a job of governess in a wealthy family, she finds the same kinds of political unrest. In fact, it isn't long before she finds herself attracted to a married man who is similarly involved in the struggle against fascism and Franco. This awakens her to her nature that brings her to such men and resolves for her what she must do about the life she left in Ireland. Written by
BOB STEBBINS <firstname.lastname@example.org>
When Conlon is reading the newspaper in the tobacco shop, the Philips ad on the back of the paper has a modern font rather than the stockier block or script type that the company would have used in that era. See more »
[disembarking from train]
We came through a valley and into this great hubbub of noise. And for a minute I saw it all the very clearly. The family I was about to join. A country in turmoil. And my own life turned upside down. And then I thought, it's why you came. It's what you wanted. And that's how it all began.
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It may be the oldest storytelling device in the world.
You take external events, usually a war or some political oppression. You draw grand sweeps that show passion and scope and boundless consequence.
And in this opulence of effect you place a love story, folded within if you wish.
After all, there is no emotion in existence that is stronger than romantic love and all its twists and perversions. But these are impossible to display because they are internal. So these internal locomotives are given the external clothes of the other fold.
How many of our great stories are thus framed? How many films?
Well, here's one. I suppose you judge these things on how powerful the emotions are that the love story evokes. This is a sort of "Casablanca" with the genders reversed. The woman needs to stunt her passions and "give" her lover to the higher fold, and live forever with the memory of one encounter.
I admit, this rings solidly for me. I shake when I shape it in my heart.
Back to the judgment: how effectively is this expressed in a way that the film plumbs and guides the waters of the heart it pulls. Does the thing give us tides?
Well, the people are beautiful. But oddly, we know these actors from elsewhere and they have been more beautiful there. In particular we depend on Polly Walker here. She has an extraordinary appeal in other projects. "8 1/2 Women" was a difficult movie to survey, but once it sticks, it is Polly who pulls us through the canals of desire. "Enchanted April" was slight but she was powerful.
She acts with her brow and has one of the most appealing brows in film.
But, alas. Although lots of money was spent. And the sets are effective, we have something like "Head in the Clouds" where we know what we are supposed to get. And we might get it by mere suggestion but the film actually gets in the way.
So the bad guys win this time. No passion.
Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.
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