Claudi Etcheverry
The English film by Carlos Iglesias (Ispansi) presents a realistic and dramatic effects without the real drama of the English local fleeing a war (Civil War), to go for belly with an international, World War II, fleeing from the pan fell to the coals.
That alone makes you have to treat with respect the content of such a miserable disgrace furious and unforgiving about a lot of innocent people, aided by a host of other generous souls persecuted who dreamed of a return impossible to settle open sores. Long time to do that is not treat lightly, or historical, or criticism, no politics, or trying to stake driven past the nostalgia and estrangement. From the human perspective of those who had to spend and on behalf of those who were not able to all respect is required and must be solemn if we do not want to confuse the political responsibilities to the opprobrium of the wounds inflicted on a massive human tragedy in which many people still live lick indelible wounds. The introitus is essential to address three or four ideas on the continent that formal macabre odyssey on the way to tell from this film, but never frivolous in light of its content or miserable trim. For
wrong, the director Carlos Iglesias does not remember the very fall of the Germans who get lost in more than one front. Unfortunately does the same, and points to multiple records at once without due to what that "Whoever much covers short squeeze, "and the tape is released so many pointing to the historical drama, the family melodrama, the personal pathos, the altarpiece of manners and romantic tragedy. With so much in dance, some lame leg, and sometimes more than one, because the family scene is weak everywhere with a dialogue between two brothers who not only express the wrong political disagreements that separate but indifference to the lost. The altarpiece manners not hold and the Madrid of the winners is presented only in a topical judgmental recite what they do not know or believe. And the romantic tragedy gets thrown out and will soon pricked with pins. In the end, which is best expressed in the human drama, the historical slaughter, because you know at the bottom that this was true, but more aware that the historical chronicle and snow from the tundra broken by steam from a train that moves such as the steppe to the talent of the shooting.
Iglesias has the unquestionable merit of having made a story that every time he goes up and facing blistering opinions. Deftly sidesteps the debate stage wilderness so hard to Spain with some of those wounds are still open. From this perspective, it does so with great dignity and sneaks not get to take position on the matter, which has no declamations on a measure which is both categorical and respectful, without moralizing, it looks to the disaster that faced all that people do not need syndicate who caused it, but it does not save a single table to get in key blockbuster with signs of both large and small scales snowy landscapes, in my opinion, taken from a textbook, a secondary manual, transforming scenes of pure reduction leaving the story into something that looks a lot like the stories of an old man tell his memoirs and no one will do as much attention. Have been told a thousand times these hardships no less real these days, and the film loses the set to avoid getting into the feelings of his protagonists are, by definition, always new and rich as an input stage. All the characters are clichés and acquaintances, and none of them up from the general mediocrity, particularly serious in the case of Paula / Beatrice, in the lead actress Regina Esther, that confuses emotion with exophthalmos, opening his eyes much more than it was be forgetting that the audience is there to open his own and not a thing.
Despite its lofty pretensions, the film is almost bombastic but does not become pedantic. Churches notices it, and in many passages gets a voice not to be left with the desire that the message be convoluted and make clear what he suspects might be lost or not clear, which would have been able to show the vicissitudes of own characters, in which the seed was to spin a story both personal and universal. So what we really lose is the opportunity to show those old troubles with voices that were on hand to make them new to the simple story of a handful of escapees to sink your feet in the snow while the perpetrators are behind on their heels.
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