15 December 2016 | ma-cortes
Good intrigue movie with top-notch acting , though extremely claustrophobic and stagy
At the beginning of the movie is presented a thought-provoking sentence : ¨The strongest limits that God puts between the human being and the crime are conscience and religion¨ , this phrase to be introduced to please the strict Francoist censorship . Five men commit a robbery and flee each by their side . Later they arrive and meet in a local flat in ¨Distrito Quinto¨ to distribute the robbed money (extra-wagers from July 18) . Along three interminable hours the impatient group formed by Gerardo (Arturo Fernández) , David (Colomer) , the dancer Miguel (Pedro Córdoba) talks and waits for Juan (Alberto Closas) , who is the one who took the booty : the salaries in the factory where works Andrés (Carlos Mendy) . Each of them begins to imagine and remember by flashbacks what happened and what he will do with his part . While they wait , there are arguments , discussion and distrustful . But the waiting is prolonged, and the delinquents begin to suspect that their companion will never come .
This really staged film is well narrated by 4 flashbacks , including a brief voice-in-off . It is entirely set at an attic , a little boarding house in a Barcelona building , at 5º District , by that time a poor slum ; however , nowadays , being a luxurious zone . Dealing with existence of a motley as well as unfortunate group of tiny crooks , giving a deep psychological detail studio of some misfit characters . At the same time , it concerns about life of the mysterious thief starring , Juán/Alberto Closas . Tension is slowly but surely built up , as the thieves try to find out the destination of the stolen cash and they remember then how they knew him and how the events happened until that day . Being based on the play ¨Es Peligroso Hacerse Esperar¨ by José Maria Espinás . Top-drawer acting all around , the ample plethora of actors give excellent interpretations . Here stands out the jazzy and strange musical score by Xavier Montsalvatge . In addition , the evocative and atmospheric cinematography by cameraman Salvador Torres Garriga . The film is marred by being excessively theatrical , developed on limited sets and claustrophobic rooms . In any case , it results to be one of the best Julio Coll films , and first he produces by his own company ; containing a peculiar dramatic structure , though extremely staged .
The motion picture was well directed by Julio Coll , winning several prizes as it won CEC , Cinema Writers Circle Awards , to Best Director : Julio Coll , Best Actor : Alberto Closas and Best Screenplay Julio Coll . Coll had a long career , being expert on ¨Noir film¨ , he started collaborating in more than 30 scripts , as the classic ¨Apartado De Correos 1001¨(50) by Julio Salvador . His best works were at the beginning his career as ¨Nunca Es Demasiado Tarde¨ , ¨Carcel De Cristal¨, ¨Un Vaso De Whisky¨ and ¨Los Cuervos¨ in which there is social drama , intriguing elements and solid dramatic narrative . In 1958 he created the production company ¨Juro Film¨ with whom he writes , produces and directs his films . As he shoots ¨La Cuarta Ventana¨ (61) , ¨Ensayo General De La Muerte¨ and ¨Los Muertos No Perdonan¨ (63) . Julio , subsequently , made international co-productions as ¨Fuego¨ with Barry Sullivan , ¨Comando De Asesinos¨ with Peter Van Eyck , ¨Persecución Hasta Valencia¨ with Tom Tryon and the historical ¨La Araucana¨ with Elsa Martinelli and based on Luis De Camoens book until his death at 73.