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It is not usual to find a big budget and talent going together but such is the case of "En la ciudad sin límites". Apparently it is a cold X ray about what has become of those ideals when youth was fighting in the resistance against Franco.

The real story belongs to the three old characters and Fernando Fernán Gómez, Geraldine Chaplin and Alfredo Alcón -in a brief scene- teach you how to contact the audience when they have a good director.

This effort with a solid story is perhaps a big overlong but it shows you what is the quality and the moral of moneyed people in contemporary Spain abel posadas

A very violent movie about the post Mexican Revolution. Ideals have been forgotten and there are no aims either. Only personal reasons at least from the rich and former powerful farmers. The other ones are not better. Just brute force. An interesting gist about this movie would be something like "What is a revolution for?". The splendid cinematography of Gabriel Figueroa is one of the major assets as well as the presence of Maria Félix in her last movie. Her last look at the camera shows her as a complex woman whose inner devils are impossible to tame.

There is a long line of Mexican movies with this theme but this is the bloodiest one. There is an interesting question to be asked: that revolution froze all the possibilities of Mexico to be a real powerful country?

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This documentary begins when the Spanish civil war has finished, that is in 1939. We can see a destroyed and hungry country trying to survive. What Mr Patiño chooses in the popular path, the then pop icons that in a way or another helped Spanis people, the survivors that is, to overcome the crisis.

In this curious parade there names of singers -from Imperio Argentina to Lola Flores or Miguel de Molina-, actors -from Jorge Mistral to Aurora Bautista or Fernando Rey-, writers -Camilo José Cela-, magazines, radio programs, advertising, movies.

The whole mechanism of Franco's propaganda is displayed carefully. It is worth to notice that the movie, finished in 1971, was banned and could be released after Franco's death Not curiously, the end gives us the image of the present King of Spain, the "gift" Mr Franco gave to Spain for the Opus Day to go on with its economical policy abel posadas

This movie pretends to be an adaptation of The Shooting Pary by Tchehov. However it begins and ends after the 1916 revolution. This political twist -the States and Russia were allies against Germany- it is really amazing.

On the other hand, the settings are really very poor and Douglas Sirk tries hards but what he and his collaborators give us is really poor. Miss Darnell is an agreeable actress but her Russian peasant is our of her possibilities. As for Mr Sanders singing in Russian, well, how can you take him seriously.

The odd thing is that these two actors were employees of Fox but this is not the company producing the film. What it is logical to suppose is that this artifact was in the line of propaganda about an ally in that year.

Perhaps the idea of "La noche y el alba" -"Night and Dawn"- started with a conversation between playwright Alfonso Sastre and director José María Forqué. It is difficult to know. What is clear is that the poor photographer who accidentally killed his girlfriend had been a Republican during the Spanish Civil War. A miserable man when the action begins, he has to face a well off couple belonging to the status quo. The husband was on the verge of becoming the dead girl's lover and the wife is a frustrated woman who knows that her prime has been lost somewhere along the line. These two worlds -the defeated and the winners- are very well translated into images by director José María Forqué, even when the film is sometimes cold, just like the weather. It was said that the Spanish communist party tried to pact an alliance with Franco's regime and that his movie must be watched as a document. But no matter what, it is an interesting experience to see the four central characters in hell. The well off wife tells to the audience: "To be born again it would be necessary to destroy all this that surround us". Four fine actors -the excellent Francisco Rabal as the photographer, Antonio Vilar as the industrialist, Zully Moreno as his wife and Rosita Arenas as the dead girl- make a strong effort to keep the movie going. Sometimes they can get it and some others, the film remains stuck. The Argentiean Zully Moreno shows that at the end of her career she had become, finally, an actress and not so much a star. A serious fiasco at the box office, it was a drawback for José María Forqué who didn't insist in this topics again. Pity, really. Abel Posadas

Much has been said pro or against this movie. What it is a fact is that it was internationally known thanks to a very well deserved distribution. It was the first Argentine picture to be nominated by the Academy in Hollywood. Time has preserved it. At least, partially. A gorgeous cinematography in black and white by Alberto Etchebehere and a good direction of actors make it worth to watch nowadays. On the other hand, the theater play by Brazilian Joracy Camargo has not aged well at all and its message looks quite old-fashioned. The story of the whore and the millionaire beggar falls through and not even the believable central couple -the competent Arturo de Córdova and Zully Moreno- can redeem it. Very good supporting cast headed by Enrique Chaico. There is a bonus and it is the music by Juan Ehlert which was used in some other productions of Argentina Sono Film. A first rate artist like Gori Muñoz was the author of the impressive settings. Unfortunately, after this film director Luis César Amadori sank into a sea of forgettable manufactures in order to amass quite a fortune. He and his wife -Zully Moreno- looked for exile in Spain after the 1955 coup. Both of them came back to Argentina in the 70s but they never again worked in their country of origin. A colourful note: the movie was re-released in the 60 s and 80 s to packed houses. abel posadas

The novel by Luis Coloma "Triffles" -Pequeñeces"- was chosen as the third vehicle for the duo Aurora Bautista-Juan de Orduña. It is not only too long but the best you can say about it is that the settings by Sigfrid Burman and the costumes are excellent. It has no passion at all and Ms Bautista does what she can but it is too much for her. A giant and distinguished cast cant save the day. To begin with, the antiques of Coloma are part today of sociology but not of literature. On the other hand, it is quite understandable for the producers -CIFESA- to have picked up a moral fable coherent with Franco's regime to avoid censorship. Unfortunately it is too long to bear and the punishment of Curra quite whimsical. All in all, it is a movie to study what sort of products were successful under Franco. Juan de Orduña is too busy with the settings to direct the actors and Ms. Bautista got fed up with these old-fashioned melos. She called it quits. Pity such an actress was linked to Franco's regime because her talent allowed her to keep on working until the 21st century -cfr. "Tiovivo"- proving she was and is one of the most interesting personalities of Spanish screen. abel posadas

When everything is said and done about the Argentinean movies of the thirties, this half forgotten gem deserves our attention. It is not only for oldies but for researches and all those interested in Latin American cinema. It explains something about Buenos Aires and its low class towards the end of the thirties and let you know why this city was in the past the lighthouse of Latin America. There's a splendid script by playwright Samuel Eichelbaum and quite a good direction by Moglia Barth. Beyond the not so good performances you will discover the story of a woman who gets back to the house where she was born in one of the modest areas of Buenos Aires. Again it is possible to see that getting back is no good at all. Studios were not keen on showing poverty and lust. But this movie proves what Argentinean cinema could do with first rate technicians. How was life like for this low middle class back in the thirties? Watch and see. abel posadas

Based upon Arthur Schnitzler's Fraulein Else, this melodrama caused sort of a scandal in Argentina in 1946. To begin with, there's no mother pushing the girl towards the rich man. In the second place Olga Zubarry was only 17 when she starred in the film and her naked back in a torrid moment cause quite a stirring. But what today is clearer is the incest and the sexual innuendos going on among the different characters. The father is here a compulsive gambler and it's he the one who pushes her own daughter towards the satyr -here the devil is a sculptor-. The consequences are, of course, a real disaster. What dominates the whole picture is a morbid pace imposed by the then firm hand of Mr. Christensen, the effective music by George Andreani and the camera and cinematography. It was a smash hit from the very beginning ans is still very watchable. abel posadas

Hugo del Carril chose a novel by Herman Suderman, Frau Gorg, and got a superb melodrama. It's quite odd to be able to transvestite Suderman to get a Latinamerican movie but this is the case. Shot in Chile, del Carril shows the viciousness of mainstream life in the XIX century. Some sources say it's a love story but they should go further. The traditional Latinamerican pater familias goes bonkers and ruins his son's efforts to become a decent peasant. On the other hand, this actor, director and singer handle the actors in a paramount way. No doubt he was/is an artist and a sensitive one. Pity that the copy circulating in video is not good enough. What calls the attention is the capacity of this man to exactly pace a movie that risks going downhill at any moment. However, sobriety prevails. It's a good reason to see old Argentine cinema. abel posadas

Yes, perhaps Paul Newman and Elke Sommer are a beautiful couple and Edward G. Robinson is not going to let you down. But is there any director behind the camera? Movies like these show you where was Hollywood standing at the beginning of the 60's. I suppose some people will enjoy it and they're entitled to it. But in my case I had to make a strong effort not to fall asleep, specially the first 60 minutes. Incidentally, was the cold war going on as strong as ever? On the other hand, Nobel Prizes are ridiculous but not that ridiculous! Kevin Mc Carthy and Sergio Fantoni are slightly bananas when fighting as competitors and Ms. Presle, well, can she be a scientist? By the way, Ms. Presle is really sexy despite her age and quite more attractive that Ms. Varsi, the toothless of the world. Pity to see old timers like Anna Lee in meaningless roles but actors have to eat. abel posadas

There is something very important to say. This movie was never released in Argentina. It was part of a cycle about New Spanish Movie far away and long ago. It is a pity because after so many years the images in black and white of that odd summer spent by Ramiro and Tula remained in your mind and it doesn't faint. The film is based upon Miguel de Unamuno's novel but director Miguel Picazo and actress Aurora Bautista -in the best performance a Spanish actress was ever given- try a new meaning for the literary text. And the repression, the wrong conception of life, the false pride and the prejudices of a woman turn a man into a tragic figure. It is not Tula the one the spectator pities. It is Ramiro -a good performance by Argentinian Carlos Estrada-. One of the Spanish movies of all time. abel posadas

and there are not many in cinema history. "Rouge" seems to be a bit of a hope. Hope in mankind and in life. But to say only that may be naive. Kieslowski could find the right way to tell the story of that embittered judge and the twentish but wise model. Perhaps that old and disappointing love affair will not be repeated -there's the new couple with the young judge after the accident-. But what to say about this master of the camera? You can't miss a second of the movie because you have to watch every and each one of those faces. Kieslowski loved human beings and that is quite evident in the way the camera treats the actors. Ms. Jacob and Mr. Tringtignant are perfect It's not only this movie but the downbeat "Thou shall not kill" and "A story about love" that may you think about contemporary cinema as a way of expressing an artist's point of view. Pity American public -the average one- could not see these films. At least they are not in the Maltin's dictionary. And even the Baseline does not know what to say about this unique man. abel posadas

This film was based upon the novel by Augusto Roa Bastos "Man's Son". Even when nothing is said in the movie, it deals with the war between Paraguay and Bolivia at the beginning of the 30's in the XXth Century. Behind these really very poor countries there were two famous international oil companies. What is remarkable is the director's talent to film an epic tragedy. Unfortunately, Lucas Demare was never recognized in Argentina because of political reasons but it must be said that this film is one of the best in the history of Argentinian cinema. On the other hand, the cinematography and the editing are outstanding. Everybody's job should be underlined as powerful here, because technicians and actors did their best. The Spanish actor Francisco Rabal -directed by Buñuel and Antonioni among others- and the Argentinian Olga Zubarry -who received her deserved prize at the San Sebastián Festival- offer the portrait of two desperate and lonely soldiers in a senseless war. But it would be unfair not to mention everybody's job as paramount. Incidentally, Zubarry's name in the movie is Salu'ì -as it is written in the novel-, and her character was called that way ironically duo to her sexual activities. It was a smash hit from the very beginning an it is a pity that no perfect copy is available at present.

Even when Carlos Borcosque was never a good director it is fair to say that this time he achieves an interesting goal: to offer the portrait of one of those Stephan Zweig demented women. On the other hand, the film was planned as a first rate manufacture and the technicians, specially the photography and the settings are quite OK. The cast is a really an interesting one: Amelia Bence and Roberto Escalada are two beautiful objects and they can convey the emotions of the unfortunate couple. Ms. Bence was always prone -in the 40's- to create frightful portraits of not very well mentally balanced women. And this deranged widow is one of her best creatures. As for Mr. Escalada he was fresh from a smash success like SAFO, HISTORIA DE UNA PASIÓN, by Carlos Hugo Christensen. But, there's always a but, they don't click. The movie belongs to Ms. Bence. Mr Escalada has allowed the crew to photograph him. All in all is interesting to see this old melodrama to prove what the old studios could do when respecting a text. The novel had been shot before and would be translated into images very often but this one is very peculiar and worth to watch. abel posadas

Getting rid of a father has been a Freudian dream but it may become a nightmare. This singular story shot in Argentina by French director Pierre Chenal is a superb melodrama. There are some scenes to point out as remarkable and one in particular: the son's horror when he understands his father is being ed according to what he and his sister had planned. There is another enigmatic daughter of the ed man. And she is not as as she looks. To top it all, the mother of this singular family decides to burn her mouth to remain silent for ever. This film was projected in the Nantes Festival in 1995 and has been rediscovered by film buffs. As everybody knows, Chenal would film "Native Son" in Argentina at the beginning of the 50's. abel posadas

That is what Mr Cecil Kellaway's journalist says to Ms Davis' Charlotte. In the open air, when Ms Davis asks what is the camera, Mr Kellaway answers: "This is a piece of conversation". It seems Mr Aldrich knew very well what was the stuff the old stars were made of. He had worked with many of them. But in this "Sunset Boulevard" shot near Baton Rouge, the old and decadent star has become a forgotten southern belle, and her past is an obsession to her. Another interesting point. Charlotte asks her cousin Miriam not to turn on the lights. - It has to be dark and still - she says. It is a definition of the old cinema, those movie palaces now long forgotten, at least in many countries. Finally, the not solved mystery leaves the house that it is going to be tear down. She leaves Hollywood -not only Hollis- and Mr Aldrich knows that an era has come to an end. abel posadas

Saw this movie when it was first released in Argentina -about 1964 or 1965-. Thought it shows quite well where Hollywood had gone. To pots. Couldn't understand why trashed had become the usual standard in second rate melodramas when producers had directors, actors, technicians and what not. But no ideas behind a glossy Technicolor's. Called it quits and left the cinema but of course somebody told me Hayward proceeded to stab a Davis' portrait -a silly freudian example-. But everything is idiotic in this movie. But now I have second thoughts. After such a long time and so much Hollywood mainstream, wouldn't it be time to watch it again and see what had happened to the late factory of dreams? abel posadas

What could Mr Aldrich do with a script that was a concoction of Ms Jean Harlow, Ms Marilyn Monroe et al? On the other hand, you could see "Hush Hush Sweet Charlotte" as a follow up to "Sunset Boulevard". Mr Aldrich had always been an actors' admirer. In the commercials Barbara Davis and Anna Lee are watching in "What ever happened to Baby Jane" viewers are offered food for dogs. In "The Legend of Lylah Clare" the TV program is sponsored by an improbable food for dogs whose brand in "Bark Well".I think Mr Aldrich considered actors and stars as the "Bark Well" of the old industry. Éven when today Hollywood mainstream insists in offering faces and bodies and what not, nobody believes in the usual idiocies manufactured by the press."The Legend of Lylah Clare" is, perhaps, a dud but the "Bark Well" are not to blame. abel posadas

Even when plot is quite old fashioned -a classy whore living on high class'money-, there's something that still works. Cinematography is beautiful and with a special texture framing Peruvian landscapes. On the other hand, director Christensen tries -and tries hard- to get some professional acting from the performers. He doesn't succeed. But there is something strange, perhaps the atmosphere, the repression, the sexual hypocrisy of the 50's that is extremely appealing to a postmodernist viewer. There is something to talk about from the doctoral point of view and it's the violence of star Laura Hidalgo as well as the warm personality of the then teenager Venezuelan Nestor Zavarce. But most of the characters are stereotypes. However, this movie shows how old studios could sell a product. And how people bought it!

I am just trying to guess if this is the director of "Mephisto" and "Colonel Redl" and "Hanusen". And I am musing about the consequences in a language you do not understand. Because I have to deduce that Mr Szabo does not speak English. On the country he would have never accepted such an idiotic script based on such an old hat from Mr Somerseth who? On the other hand, it is quite difficult to understand why four countries are involved in such a disaster. Yes, a director has to eat. But I suppose that Mr Szabo can eat in Europe a bit better. As for Mrs Beatty, I think her husband offered her this Valentine trying to make her think she is Bette Davis. Well, Ms Benning is a good actress but she is no match for old troupers. Sorry about this unbelievable mess. abel posadas

In 1953 Juan Antonio Bardem shot his first movie -alone, that is-. He decided to pay homage to his parents -both of them actors-. But beyond this personal streak, "Cómicos" is a film that deserves to be seen nowadays. This is Bardem before his Antonioni's usual copies. And at his most sincere. You have to watch the shots of those thespians working day and night in that 50's Spain to sympathize with them. On the other hand, Ana Ruiz is not only a character but an idea: the idea of the "dirty hope" as she calls it. She waits for a break because she know she's worth as an actress. No matter when the moment will arrive. Unfortunately for her that moment comes and goes very quickly. But now she's had the opportunity to know that she was right. As for the actors, the Argentinian actress Christian Galvé -Elisa Christian Galvé- is a wonderful image- and Fernando Rey, Ema Penella and Carlos Casavilla are no less than perfect. And what shots those of that Mr Bardem... Try not to watch and you'll find it impossible. Besides, you'll listen to intelligent dialog's abel posadas