If summary treated to do, could to say that film "Elsa & Fred" counts history of two people that finds way to bear anguishes and sufferings of a whole life to hills for, in last stage of his lives, perhaps when they could think that already everything was defined, to be able to allow the luxury to enjoy in fullness of the adventure of the love. These few lines absolutely that define the argument of the film of Marcos director Carnevale - a Co-production Spanish-Argentinean, although do not need the truth, are very far from explaining or to draw a little at least what happens. In fact, the distance is infinite that separates that concise synthesis of which the film is in fact. The difference is as great as the one that separates a dense film, foreseeable and stereotyped of other than it surprises in each passage, that is let flow with harmony and overflows of freshness, philosophy and the good humor. The technical and narrative solidity of the film, the ability of Carnevale to be able to be present absenting itself, for example, when always locating the camera in the right point, without letting to him never take too much protagonism. The balance and intelligence whereupon the script compose the personages and raise the evolution of history, treating to avoid the temptation of the fall in the common places. The overwhelming work of the actors, the Spanish Manuel Alexandre and Uruguayan China Zorrilla (in of its better papers). Through these four fundamental factors, the film is allowed to rest in its external structure and to forget in this way her, generating the frame ideal so that in screen it arises what nothing has to do with the material, and everything with the cinema. Because Elsa and Fred, together, are pure chemistry and magic, and become partners of a dream that crosses the screen. They two single ones are able to defy any prejudiced spectator (who watches with suspicions that of a history of love between greater people) to than rises of their armchair and she retires of the cinema if he is able to become bored or to get annoyed although it is a minute. Perhaps the greater virtues of history that devised the producer Carnevale next to Lily Ann Martin and Marcela Guerty have to do with fierceness to approach a very repeated subject cinematographically, and with the capacity to please construct to turns in the rate and the freshness of the narration, without never losing of Vista the basic parameters of probability that do to the plot. The personage who Zorrilla incarnates skillfully is decisive so that the tape can take a way different from which perhaps could beforehand wait for-. Su Elsa it is pure energy, freedom, spontaneous, cleverness, joy to live. Their wrinkled body and a few pains are not sufficient to hide a contagious overflowed spirit of youth. Fred, however, has had routine a singsong life and. Load with himself the lost sadness of having not long ago its woman, than loved woman, loved more companion. When the chance crosses to the protagonists, because they are neighboring, Elsa is thrown upon Fred, looks for it, almost practically harasses it. It has decided to bet his cards to be able to pass it or with that quiet and honest man who so or falls to him. Each encounter, each exit, each dialogue between Elsa and Fred, does not have waste. The film is advancing and by all means, as it does, the conflicts and the dramatic load of history gain more space. Nevertheless, the luminous and fresh essence of the film stays until the end. In this it has much to do the coherence in the elections and decisions that the script for the resolution takes from the plot. The film does not have to make an effort to sweeten nor to diminish the end: simply, the closing is natural consequence of flowing previous. Elsa and Fred manage to show that the love between people of the third age is able to involve the passion, to the eroticism, the dreams. They do not need to deny its oldness to obtain it, much less to request last youth. Without falling in stereotypes, the film is maintained with solidity in the idea that never it is behind schedule for the love; as it maintains the motto that says the film, an appointment of the Spanish Pablo Picasso, "has been time to get to be young". Basically, the personages live and enjoy so much as they can of the love who can live. In this sense, the main merit of the film is the firmness with which the producer faces his boarding the treated subject. If by on all the things something Elsa and Fred obtain, that is to demonstrate and to make think that the love has own organization in the oldness: it is not an exclusive subject of the young people.
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