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  • Second version based on a prestigious novel by José Maria Segarra . Set in the fifties and it deals with a notorious surgeon and cardiologíst called Enrique Molinos , Fernando Guillen , married to Isabel , Mercedes San Prieto , a marriage whose life has been turning apart long time ago . The point of no return came when their only daughter , Cayetana Guillen Cuervo, has made up his mind to become a nun at a convent run by an understanding Superior Mother , Julia Gutierrez Caba . This one causes father's reject making the gap between the isolated marriage grow deeper . As she has an excessive religious devotion and she is going to travel as a missionary at Ruanda , Africa , while her daddy has a complete and extreme lack of faith . Then, the unhappy couple utterly falling apart , and the animosity between the marriage is enhaced when the wife finds her husband's infedility with a lover , Beatriz Santana .

    Dramatic and heart-rending religious drama about a couple in crisis drifting apart over time due to husband's infedility , as they have strong disagreements and an ill daughter , though Enrique attempts to be conciliatory , but the sad events are accentuated at the end . Based on homonymous play by José Maria Segarra with script by Jose Luis Garci himself and his usual writer Horacio Valcarcel , concerning a twisted story of suffering and redemption . Here José Luis Garcí adds some characters as the servants , Neus Asensi ,Maria Massip, introducing some humor and paying tribute to broadcasting with roles hearing Radio of the fifties. In addition , Garcí presents some changes from original , as replacing a priest by a nun and substituting a son by a daughter . Here Garci regarding and delving into the troublesome labyrinth of the Catholic drama . This is a light and tímid melodrama compared to first version , the excessive and passional Mexican , Spanish drama La Herida Luminosa 1956 directed by Tulio Demicheli with Arturo de Córdoba , Amparo Rivelles ,and a young José Maria Rodero playing the priest son .

    It packs a colorful and evocative photography by Raul Perez Cubero . Being shot in Toledo , Madrid , Santander , Monasterio de La Vid , Burgos and Asturias . Asturias was the gorgeous location where Garci shot various films similar to Gonzalo Suarez. Adding adequate settings and appropriate production design by the Oscar winner Gil Parrondo . Furthermore , a sensitive and touching score by Manuel Balboa. Produced by Enrique Cerezo and Nickel Odeon , an important production company created by Jose Luis Garci himself and also prints film books and magazines . The motion picture was well directed by José Luis Garci. He is a good writer and filmmaker . He has written scripts for other directors as El crónicon , La mujer es cosa de hombres , No es bueno que el hombre este solo , Una gota de sangre para vivir amando, La noche de los 100 pájaros , Los nuevos Españoles . His film debut was Asignatura pendiente with José Sacristan, Fiorella Faltoyano , following : Solos en la madrugada, Las verdes praderas , Asignatura aprobada , Sesión continua , Crack I , Crack II with Alfredo Landa , and the trilogy written by famous writers , formed by Canción de cuna written by Gregorio Martínez Sierra , El abuelo by Benito Pérez Galdos and La Herida Luminosa written by José Maria Segarra. Garcí greatest hit was the Oscarized Volver a empezar . Nowadays , he is shooting El crack III with Carlos Santos . Rating 7/10 . Better than average . Decent religious drama and well worth watching
  • Warning: Spoilers
    Whereas `La Herida Luminosa' is by no means a great masterpiece, as is Garci's following film `El Abuelo', it is a delicate stage piece in more than one sense. Firstly it is based on a play by the Catalonian poet Josep María Sagarra which was probably written in the late 1950s; secondly Garci sought to maintain the playwriter style of interaction between the actors. For this reason the main actors basically come from an ample background of live theatre - Fernando Guillén, Mercedes Sampietro and Julia Gutiérrez Caba especially. Neus Asensi is really good, and this is probably the film in which Cayetana Guillén-Cuervo (daughter of Fernando) plays her best rôle. As usual the careful hand of the artisan director is evident, notwithstanding a few glimpses of things which did not exist in that decade.


    SPOILERS IN THIS PARAGRAPH: a nun becomes ill and is taken to see the doctor, who happens to be her father and repudiates her. Dr. Molino's hate for his daughter ends in her dying (of a broken heart?) when she goes to visit him. END SPOILERS


    Although some tangencial religious inferences are clear, in no way are they sanctimonious, there is no preaching. Garcí is very much of the new Spanish cinema who does tend to look back in his stories - again here aided by his favourite scriptwriter Horacio Valcárcel - but by no means can he be considered a latter-day franquista. His stories, as here in `La Herida Luminosa', are clean characteriological studies on human values and feelings. Very much a dialogue-driven piece, befitting perfectly the times in question and proper to its origins as a stage play.

    Manuel Balboa once again strikes the right ambiental note with his music, though I sometimes could not tell where his original score stopped and where music from other composers began. Definitely recognised some Tchaickovsky, but interspersed with pieces which sounded almost like Beethoven and Chopin, as well as a rather nice chorus of nuns at the end, which may well have been Balboa's own.