In the small town of Cienfuegos, it's a very special day for 7-year-old Alicia Vega (Aroa Palacios) and her family: her First Communion. However, when they are celebrating at the family's ... See full summary »
Irony, black humor and nostalgia in the last part of the trilogy that Ferreri did not finish
Logroño, 1959. "Fabianito", a boy of fourteen, preparations surprised presence of the wake of his great grandfather, a famous local citizen. While the family waits impatiently for the arrival of the mayor, "Fabianito" only sees sexual curiosity sated through the rebel branch of his family: his Aunt "Clara" and his cousin "Marianin". Around the main action, succeed long shots-sequence in which many parallel stories intertwine each more absurd. .
"Los muertos no se tocan, nene" is the last part of the trilogy directed by Marco Ferrreri in 1959 and continued with the little flat the following year by the stroller. The work is a tribute to the writer and writer Rafael Azcona, creator of the novel "Pobre, paralítico y muerto", in which the three stories are based. Directed by Spanish director Jose Luis Garcia Sanchez, the film receives a broad range of veterans and young players like Tina Saiz, Fernando Chinarro, Blanca Romero and Airas Bispo.
Shot in black and white, the film conveys grotesque humor, taboos of a very Catholic family and Franco-aligned military and old ladies. Through a classic and humorous script, without departing from the pattern of the previous films, it offers a nostalgic portrait of Spanish society in the late 50s, just before the major changes was to experience the country in the 60s and following as a result of economic development. It is, therefore, a Spain ignorant, superstitious, and socially very hierarchical and overvalues everything that comes from abroad.
The latter is reflected by the arrival at the house of one of the first German television. Although the signal and sound are harmful or no, both masters of the house as domestic service intended cajole neighbours and friends with the device, which is rubbish but, yes, German. Of course, the film also described other very recognizable aspects of the era, such as gender inequality, extramarital relationships, passion for bullfighting and religion.
For its part, the music is a key element of environment within the film. At the start, the tone and we are adjusting to the black and white image and the sound dubbed "a posteriori", ultimately, to the movies of the 50s.
This is a great comedy of Spanish cinema, to give up many comforts of today, has been strengthened. A bold proposal in these times of high production and science fiction but surely appreciate film history.
It's a real shame that this film has not been shot at the time, in the late fifties or early as much as sixty. And that there were no or Ferreri Berlanga in his direction, for surely it would have been another unforgettable film.
Instead we must be content to see adapted for the screen story with an air of respect to the project because it has taken García Sánchez, Fortunately this is a García Sánchez in the wake of his good performance of "La Corte del Faraón" or "El love feroz", even before the Garcia Sanchez Azcona in cahoots with "Pasodoble".
García Sánchez is surrounded by good actors of strong character of our country, for hooking up with the tradition of film that far. And he get a estimable work, fun, with enough irony and black humor to satisfied we finish viewing the film.
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