Alejandro Amenábar’s first all-Spanish film since 'The Sea Inside' explores a fascinating footnote to the Spanish Civil War against the wider backdrop of Franco’s rise to power.
Aside from delivering terrific work in a range of genres, Alejandro Amenábar — best known for Nicole Kidman starrer’s moving reflections on assisted suicide won him the 2005 Best Foreign Language Oscar, while the feminist-philosophy mashup of, a classically put-together study of the Spanish philosopher and writer Miguel de Unamuno that doubles as an up-to-date warning against the dangers of political passivity.
The viewer knows that he will die, but many at the time could not believe in such a possibility. Awakened from slumber by the sounds of gunfire, one of them is the elderly Unamuno, the former rector of Salamanca University and thus one of Spain’s leading intellectuals. Unamuno dons his trademark beret and heads out to meet up with Protestant priest Atilano and his young Marxist protege Salvador .
Franco, whose portrayal in Spanish films has tended toward caricature, is a challenge for an actor, since by all accounts the dictator who ended up ruling over Spain for nearly 40 years was a dull little man with a high voice. Prego skillfully and compellingly twists this dullness into creepiness, peppering the role with half-smiles and silences that last a beat too long, all the while suggesting that behind the facade there is desperate ambition.
The women in the film are secondary characters but are quick to spot the truth of what’s going on, and are morally more even-handed than all the power-hungry males. Even Carmen Franco, the dictator’s wife, is carefully shaded, and ifhas one point to make, it’s that the division between good and evil is rarely so neat as many would insist on believing.
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