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,
Marina, a woman with a glass eye, has the bad luck to be the victim of an assault witnessed by Rafael, a goodhearted butcher, who rescues her from her attacker, a man named Daniel. Rafael ... See full summary »
The movie tells the story of a family of comedians that work in the towns of Spain during the 40's and 50's. Life gets very tough for them since they cannot compete any longer with cinema. ... See full summary »
A member of the ETA terrorist organization belongs to a commando which is preparing an outrage in Madrid. But he sets other priorities when he meets a girl who is addicted to drugs and for ... See full summary »
El Bola, a 12 year old boy a.k.a. "Pellet" is a 12 year old boy raised in a violent and sordid environment. Embarrassed by his family life, he avoids becoming close to classmates. The ... See full summary »
Juan José Ballesta,
In the celebration of the day of the political prisonner the victims of the Franco repression meet in the jail of Valencia. Among them are parvenues, mafiosi, bankers, and a communist ... See full summary »
Luis García Berlanga
One winter night, Pilar runs away from home. With her, she takes only a few belongings and her son, Juan. Antonio soon sets out to look for her. He says Pilar is his sunshine, and what's more, "She gave him her eyes"...
Escaping gangsters trying to kill her because of being witness to a crime, Gloria (Victoria Abril), a young woman of lower class, comes back to Madrid, Spain and to her family. There she ... See full summary »
Agustín Díaz Yanes
Angela and her young son Guille travel to the big city to see Leo, her father and the boy's grandfather, when he suddenly takes ill. However, they arrive to discover that he has just passed... See full summary »
Corren los años 40. Una modesta compañía de cineastas españoles abandona la España de Franco trasladándose a la Alemania de Hitler, para realizar una película coproducida entre ambos países. Se trata de un musical de ritmos andaluces protagonizado por la actriz Macarena Granada y dirigido por Blas Fontiveros. El contraste de ideologías entre españoles y alemanes es bastante marcado, y ello no tarda en hacerse notar... Written by
Miguel Ángel Díaz González
Without trying to offend anybody I have to agree with another reviewer in that an explanation for the bad reception of this film among the non-Spanish speakers reviewers was exactly that: Spanish is not their first language and this is sometimes, as another reviewer has pointed out, a difficult film to understand if you are not a native speaker. A full understanding of the dialogue would help to clarify some of the bizarre scenes in the film. It might not be the best script written by Rafael Azcona, without any doubt one of the best scriptwriters in the history of Spanish cinema, but at times it is hilarious. A better grasp of Spanish history and culture would also come quite handy. So what else can you say about Penelope Cruz in the scene where she dances and sings for Goebbels?. As one her shoe is missing, she unintentionally imitates Goebbles, as she approaches him in a frontal shot, who is lame.
Jokes on the Spanish fascist are more than just clichés. For example the cuckold Spanish ambassador played by Juan Luis Galiardo and his nymphomaniac wife, played by Maria Barranco. And the wisecracking remark made by the pro-fascist Spanish troupe leading man, Jorge Sanz, wooded by his German counterpart "Yo doy todo por mi patria menos mi culo", he would give anything for his country except his ass. They are both an amusing pisstaking on fascist patriotic macho culture. This subject of patriotism being a hot issue right now in Spain where the right-wing government of Aznar is endorsing the notion of "Patriotismo Constitucional" or Constitutional Patriotism developed by the German philosopher Jürgen Habermas. Unashamedly, the film upholds the necessity to produce espanoladas. As the film director Blas Fontiveros, played by Antonio Resines, remarks that the life of a Spanish hero has more relevance to Spanish audiences, as they feel more identified, than for example Al Capone's. 5 Spanish (espanoladas) films were, in fact, made in Nazi Germany. Two starred by Imperio Argentina and another 2 by Estrellita Castro both stars of the "cine folclorico espanol".
As already remarked by some reviewers the film copies scenes from other films, the most obvious being its final sequence, which is a rip off of the end of Casablanca, but to suggest that it is a carbon copy of such and such a film is pure overstatement and a rather facile critique of the film. Yet its politics are not at all convincing, not to say rather naïve. The introduction of the Russian Jewish character signals the fall of the film into sentimental humanism and vacuous romantic trifle from where the film does not recover. Nevertheless La Nina de tus Ojos has its charms too and I found it extremely funny. The cast is excellent (Penelope Cruz playing an andalusian, a role she had already done in Almodovar's "Todo Sobre mi Madre" as a prostitute). Resines and Sanz are a surprise as well as Santiago Segura. But special mention deserves Miroslav Táborský, playing Vaclav the interpreter. Subtle looks at Macarena tell of his unrequited love for her. His increasing fascination with Macarena moves him away from his non-interventionist stand to resignedly accept his fate by the end of the film, along with Fontiveros who is Macarena's lover, at the hands of the Nazi. Yet this is never overdone as the change of views underwent by the other characters towards the Nazi regime, in particular the case of Julian Torralba. This little subplot of the film is quite moving rather sentimental and its quiet essence contrast sharply with the bombardment of dialogue coming from the rest of the cast.
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