Mauricio is a Frenchman who arrived in Barcelona fleeing from justice. He takes refuge in a pension in Chinatown (today called Raval) and falls in love with Pilar, the niece of the owner. ...
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A rural magistrate tries to solve the mystery of a man's death that turns to murder in the light of new events, while searching for his lost love, a beautiful and enigmatic woman who suddenly disappeared.
Obsessed with fantasies of sex, Father Miguel seeks professional help through his church but they are not listening; thus leaving the Father in a dilemma; leaving the church or should he try, on his own, to surrender to these temptations?
Eloy de la Iglesia
Emilio Gutiérrez Caba,
Mauricio is a Frenchman who arrived in Barcelona fleeing from justice. He takes refuge in a pension in Chinatown (today called Raval) and falls in love with Pilar, the niece of the owner. Soon after, a murder is committed in the neighborhood and Mauricio, whose past is dark enough, it becomes the prime suspect.Written by
"La Calle Sin Sol" is a film whose central story revolves around "Mauricio", a Frenchman who fled his country and settled in Barcelona, there are staying in the boarding house where "Pilar" works and both are concerned about each other, but the relationship is hindered by a fact happened in the neighborhood, an elderly woman is killed and everything indicates that the murderer is "Mauricio", "Pilar" yet never stops trusting innocence. It is a story without much background, designed to excite and especially to entertain, which keeps the intrigue from the beginning and that surprises us so special assembly and its images, which also we, the viewers of today, surprising.
So the drama is unleashed, with a splendid and well planned photograph where the play of light and shadows are clear, provide the film an artistic side and the image becomes more striking in black and white. Similarly the frame is critical, photographic images are an example it is when Mauricio "Pilar" receives and opens the door where the food has to show it.
We see many planes accented with dramatic zoom, in which we see the faces, especially when "Pilar" suffers for love of "Mauricio", the drama is accentuated by the music introduced in key moments to thrill the audience, and the truth is which sometimes reaches so.
The director's attempt to innovate technically seen in the film, although the assembly is linear by cutting, uses sometimes fades to black, and highlights the part where two images overlap, the images are also considerably more quality in previous films of the period, less abrupt cuts and more suited to the current film and sharper images. On the other hand the fire scene surprises us with its capacity and credibility of the images, this scene has reached the highest climax of the whole movie, just when we discover who the real murderer, one of the characters who least expect it, and to the surprise of the spectator, after revealing his crime continues to act negatively, shows no remorse, is something unconventional and do not expect.
The ellipsis is used with great skill, the theatrical style that stands out in the Spanish cinema in its origins is not so obvious in this film and see how it is shaping the language of film, this adds value to the film, which despite 1948 being no longer so far away for us. Theatricality if we see more on the performance of the interpreters, who are sometimes forced and we draw from history, and cries sometimes forced and exaggerated action scenes are examples of this lack of credibility. In short, a film that never ceases to amaze us even in our time that does the job, entertaining us with no decline in the rate and is also a document of the customs of the time and as was Barcelona and its streets. A film suitable for all ages and that is certainly a good start to penetrate and understand the origin of Spanish Cinema.
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