El lápiz del carpintero (2003)

Director:

Antón Reixa

Writers:

Manuel Rivas (novel), Xosé Morais (screenplay),

Stars:

Tristán Ulloa, Luis Tosar, María Adánez

3 wins & 4 nominations.

Cast

Cast overview, first billed only:
Tristán Ulloa	...	Daniel Da Barca
Luis Tosar	...	Herbal
María Adánez	...	Marisa Mallo
Nancho Novo	...	Zalo
María Pujalte	...	Beatriz
Manuel Manquiña	...	Benito Mallo
Anne Igartiburu	...	Madre Izarne
Maxo Barjas	...	Laura
Carlos Sobera	...	Landesa
Sergio Pazos	...	Sargento Somoza
Monti Castiñeiras	...	Alejandro
Miguel de Lira	...	Pepe Sánchez
Gonzalo Uriarte	...	Doctor Soláns
Celso Parada	...	Gengis Kahn
Santi Prego	...	Dombodán

Storyline

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Plot Keywords:

shot in the neck | proxy marriage | fascist | death by gunshot | spanish civil war | 

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Taglines:

Una historia de amor y obsesión.

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Genres:

Drama

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Details

Official Sites:

Official Site [Spain]

Country:

Spain

Language:

Spanish

Release Date:

25 April 2003 (Spain)

Also Known As:

O lapis do carpinteiro

Filming Locations:

A Coruña, Galicia, Spain

Company Credits

Production Co:

Morena Films, Portozás Visión S.L., Sociedad General de Cine (SOGECINE) S.A.

Technical Specs

Runtime:

106 min

Color:

Color

Did You Know?

Trivia

The author of the novel on which the film is based, Manuel Rivas, has a cameo in the film. When Daniel is first taken to the beach and lined up with other prisoners to be shot, Rivas appears to the right of him in a grey jumper.

User Reviews

Very fine visuals and some compelling performances, but uneven and superficial story that weaken the appeal of this movie.

This movie is one of numerous films released at the turn of the century to delve into Spain's past, but it lacks the depth and nuance that would make El Lapiz del Carpintero a movie to study and remember.

The issue is not the performances since most of the characters are compelling, nor is it a question of technique or style. Some of the panoramic views of the Galician landscapes are breathtaking, and the interior set designs create a convincing visual authenticity of the period. It is easy to see that major components such as lighting, and details such as clothing received the kind of attention that make the images appealing to watch.

The film is superficial, however, in its approach toward a topic that requires and deserves a more careful and balanced presentation. The strength of the characters and the allure of the visuals are not enough to make a powerful story that audience members mull over, argue about, or even discuss.