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10/10
Incredible forgotten gem of a film
18 December 2004
Warning: Spoilers
Failing to acknowledge the fact that the script is based on Stefan Zweig's "Letter from an unknown woman" notwithstanding, Stahl's "Only yesterday" is a jewel of a film.

Beautifully written, directed and acted - it is refreshing to see how real films of the golden age of pre-Hayes Code could be. Absolutely no moral judgment is made of the unwed pregnancy of the character after her one night stand with the man she is fascinated with. Leaving Virginia and her crying mother behind for New York and her suffragette aunt (delightfully played by the talented and often typecast Billie Burke) who basically puts it down as a "biological occurrence", something to be lived through - something that happens. The film is full of little touches of real emotions and actions despite the heavy cinematic conventions of the era.

A comparison with Max Ophuls' masterpiece "Letter from an unknown woman" (1948) is too thrilling to resist. In Stahl's more "realistic" version the character played by Margaret Sullavan goes from wide eyed ingénue to become the sophisticated witty Mary Lane - a woman who's been through it and kids herself no longer. Beffiting Ophuls' dark and moody amour foux fable - Liza Berndl (Joan Fontaine) though also going from naive to sophisticate (with some hints of prostitution) never gets over the romantic -almost neurotic- obsession with Stefan Brand (Louis Jourdan - the doomed don Giovanni of "Letter" as opposed to "Yesterday"'s regular Wall Street dilettante played by John Bole). Their reaction to a second chance with the object of their desire is as different as their characters...

If you should come across this film in a midnight television screening or at your local cinemateque DO NOT MISS IT. Unfortunately you will not be able to find it in VHS or DVD. Time has been kinder to Ophuls' amazing film - if not quite fair either. Maybe one of these days the guys at the Criterion Collection will see to it...
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Asfalto (2000)
Minor flaws, great filmmaking
21 April 2000
15 minutes into ASFALTO, Calparsoro's latest directorial effort, I am still thinking that I am not going to like this. It has rained a lot since Godard said that all you needed to make a movie was a gun and a girl. Yesterday's boutade is today's common place. But something happens in the way and I find myself genuinely involved with the characters and deeply moved. And ultimately that is what filmmaking is about - I don't care about anything else, but move me, make me feel something, deliver an emotional experience. And ASFALTO definitively does, this is no ordinary Tarantinesque picture. In a year of mediocre Spanish movies it stands out. The script by Calparsoro and Santiago Tabernero underexplains certain subplots, but builds three very charismatic and believable characters and gives them great scenes to play. Najwa Nimri is OUTSTANDING as Lucia, the bad girl that wants to mend her ways, walking up and down the steamy streets of Madrid in the midst of summer wearing skimpy hotpants and high heels. Her Lucia is vulnerable, volatile and lovable. Gustavo Salmeron is once again great as Chino, the conventional guy forced to become a policeman, and Juan Diego Botto infuses the threesome with mystery. Beautifully shot by Josep Maria Civit, some of the action scenes are not terribly well executed, but it makes up for it with pure beauty in shots like Nimri and Botto asleep inside a discarded truck wheel looking at Madrid as the sun comes up, and many more. It has its flaws but the virtues of the film redeems it at the end. Beautiful, must see.
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