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Cast overview, first billed only:
Oliveira (as Joaquín de Almeida)
Imanol Arias ...
Joseba Apaolaza ...
Miguel del Arco ...
Alicia Agut ...
Madre de Charli
Manuel de Blas ...
Aitor Mazo ...
Ion Gabella ...
Paco Sagarzazu ...
Mikel Albisu ...
Anartz Zuazua ...


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Crime | Drama





Release Date:

18 May 2001 (Spain)  »

Also Known As:

His Master's Voice  »

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User Reviews

Sensual Silvia needs something more challenging
24 May 2003 | by (La Rioja, Spain) – See all my reviews

Ever since `La Fuente Amarilla' (qv) I have been looking forward to the development of Silvia Abascal as a serious actress in demanding character roles, where her obviously beautiful charms are not necessarily the driving force and the raison d'etre of the film, but her ability to express interpretive skills.

In `La Voz de su Amo' her potential as a serious actress is evident, but the film itself is not the appropriate vehicle for bringing out her latent dramatic possibilities. Silvia Abascal is blessed with an exquisitely expressive face: the camera just laps her up; she is the essence of how to fill the screen, and her eyes can transmit feelings with magnificent naturalness. She is beautifully sensual without even having to take off any clothes (though she does so in this film). She is articulate, lending grace and charm to her presence on screen. But when, might I ask, will somebody offer her a role in which she can project her real serious acting abilities. Indeed, I would say she had more possibilities in `La Fuente Amarilla' than in this film. I wrote there that when this actress really takes off, Penelope Cruz will have to make way for Silvia Abascal. She desperately needs directors like Trueba, Garci, Armendáriz, Almodóvar, Isabel Coixet, for example, with a serious story line to bring out her qualities as a first-line actress, and not simply be another sexy bombshell.

Since her debut in a popular TV show in 1993 when she was 14, a decade has gone by, and the little girlishness aspects should no longer be applicable.

Besides that, I can only feel deep jealousy and envy, when actors like – in this case – Eduard Fernández get into bed scenes with such luscious young ladies. It is just that I insist that this young lady is capable of going much further in more complicated characterization; then, and only then, she can take off all the clothes she feels like, and everyone delighted, no doubt.

Entertaining, but nothing else, the film itself narrates occurences in Euskadi (Basque Country) set against the background of ETA terrorist activity. Fernández has the lucky job of looking after the rich man's daughter, who, wily as a cat, seduces him (not vice-versa) and he falls in love with her.

So would I.

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