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   I should probably never state how regularly I’m intending to post because I’m invariably proved wrong –‘life is what happens while you’re making plans’ and all that.
   I have watched a few films for the Random Viewing thread but have got ‘stuck’ on one in particular (I’m starting to think that I may just post an image from it and move on to the next one), which is why I haven’t posted anything for a few weeks, but I’ve also just generally been busier than I thought I would be this month.
   As I mentioned back in February, I finally had an ‘idea’ for a more academic piece of writing and was starting to research that. I then managed to get what ended up being an almost-six month secondment to a better job and had to put said idea to one side for the duration. In the past couple of weeks I’ve started to try and pick up the threads of where I was going with that idea, or at least trying to retrace my steps. I’ve also found a half-written piece (started around this time last year) on Javier Bardem which I’m currently trying to work out what to do with (and likewise trying to rediscover what my thoughts at the time were - the notes that I wrote as an aide-memoir at the end of where I’d got up to don’t make a great deal of sense to me now) –it might become one of my longer-style blog posts, or I might try to turn it into a conference paper. I think that these two things are probably going to be my focus for a while, so posting here will be a bit irregular for the rest of the year. I also need to get back into watching films for the sake of watching films –since September, when I said that my work commitments meant that my posting would increase again, I’ve felt a bit like I have to watch something in order to write about it here rather than just because I’d enjoy watching it. So I think that, rather contradictorily, I need to let my mind veg out a bit at the same time as focussing on a specific project and not darting from film to film so much.
So, in summary: I will be posting in the coming months but not in a regular pattern or great frequency. I’ll let you know when I start getting somewhere with my ‘project’ and I’ll still be checking in here and on twitter.

Grupo 7 / Unit 7 (Alberto Rodríguez, 2012)

   Grupo 7 takes place in Seville between 1987 and 1992 when the city was being cleared of 'undesirables' in the run up to playing host to Expo 92. We follow one of the police units charged with running the drug dealers out of town and removing drugs from the streets, a unit that already has a reputation for violence at the point at which we join the story. I included the film in my post about 10 Spanish films I was looking forward to in 2012, and said that it was a possible Spanish Training Day (I'd seen that film mentioned in relation to it). But actually although the initial set-up -a new officer, Ángel (Mario Casas), joins a team headed by a dominant and violent alpha male (Rafael -Antonio de la Torre, excellent as ever) who is unafraid to get violent to get results- points to a typical 'rookie officer faces trial by fire and conflicting loyalties but eventually proves his moral worth'-type narrative, this film flips that because Ángel arguably turns out to be the worst of the bunch. 

   He takes readily to the violence but he is also willing to go beyond 'stretching the rules' to 'breaking the law' in a way that initially stuns the other men. Arguably the lengths that he will go to, and his lack of emotional engagement with the people whose lives he places in danger -not only his wife (Inma Cuesta) but also informant Joaquin (Julian Villagran) and the team's criminal accomplice, La Caoba ('Mahogany') (Estefania de los Santos, who walks a tightrope between nerviness and brash bravado in her scenes)- remain problematic for the other members of the team (Rafael, Mateo (Joaquín Núñez), and Miguel (José Manuel Poga)). For me, Ángel is the weak point of the film (although that's not a criticism of Casas's performance -he does what is required of him) because although he is initially the audience's route into the narrative, I don't think we really get an explanation for his behaviour or a clear idea of his motives (is it boy-scoutery taken to dangerous extremes, is it the money, a desire to impress, or something else?). In contrast, Rafael emerges as a character with hidden depths and an emotional basis for his behaviour (and he also develops as a character as the film progresses), quite different to the stereotypical 'brutal cop' he appears to be in the opening scenes.

   This is a well-made and slick action film / thriller with an array of interesting characters and a narrative that hooks you from the outset and doesn't let go for the duration. It is a sign of the film's quality that it has been shortlisted (alongside Blancanieves / Snow White (Pablo Berger, 2012) and El artista y la modelo / The Artist and the Model (Fernando Trueba, 2012)) to represent Spain at the Oscars. I'd like to revisit in the future when I've had the chance to rewatch it and listen to the audio commentary (Antonio de la Torre and director Alberto Rodríguez), possibly to consider it in the context of style and/or genre. 

Facelift

   As you can see, I've had a bit of a redesign of the blog. It's purely cosmetic; everything is still in the same place and with the same layout. I just fancied a bit of a change. I'm not sure about having the sidebar partly transparent, but I'm going to leave it for a while and see how I get used to it.
   I've now got some time off work before going back to my normal contract, so let the film watching begin! It'll probably be another week before I start posting properly again but over the next few weeks I should be able to get back into a routine with my viewing and posting.

Not-Entirely-Random Viewing: Carlos Saura edition

Clockwise from top left: Sevillanas (1992), Flamenco (1995),  Iberia (2005), Fados (2007).

    I mentioned a few posts back that I'm considering doing another month-long project on a Spanish filmmaker, in the way that I did 'Almodóvar Month' last August. Saura is the filmmaker I'm considering writing about, mainly because I've realised that I've seen surprisingly few of his films. Is say 'surprisingly' because of the longevity of his career (he directed his first feature, Los golfos / The Delinquents, in 1960 and has now directed more than forty or so films to date), a number of his films are considered key works in Spanish cinema (most notably La caza / The Hunt (1966) and Cría cuervos / Raise Ravens (1976)), and also because he is one of the few Spanish directors whose name has some sort of cachet outside of Spain. Despite the fact that a lot of his films were reissued on DVD only a few years ago, they are now difficult to come by and a significant number are simply unavailable (strangely (to my mind, at least) this includes two films he made with Antonio Banderas). Looking at the availability of DVDs and titles that are currently supported by VOD platforms (quite a few of Saura's films are available at Filmotech), I think I can get access to around 26 of his films -I am slowly acquiring the DVDs that are available at a reasonable price (I recently broke my own rule about how much one should pay for a DVD and ended up getting burnt by what appears to be a counterfeit in the process -lesson learned), so we'll see how I go. His films will probably continue to appear in the Random Viewing thread until I make up my mind as to whether or not to make a project of it or not -I may hold off and do some sort of retrospective when his next film, 33 días / 33 Days (about Picasso (Antonio Banderas) and the painting of Guernica), gets released. The number of his films that revolve around music and dance is also a bit off-putting for me, given how little I know about those elements. But they are integral to his career as a filmmaker, so I'll have to give that some thought as well.
Ordinarily, if I'm planning some sort of retrospective, I work through the films chronologically. But while looking for trailers of the films (to give me some sort of idea of them) on youtube, I discovered that Sevillanas (1992) and Flamenco (1995) were on there in their entirety; as they're both currently OOP, I decided to watch them first before they disappeared. Iberia (2005) is available at Filmin and I bought Fados (2007) on DVD from amazon.es. Having watched Flamenco Flamenco (2010) last year I knew what to expect in terms of format, but one can also see a progression in terms of filming style across these four films.
    Although each varies in emphasis in terms of the balance between dance and song / music, performance is centre stage; there is no 'narrative' as such in these films, but rather a series of performances that hang together as a cohesive whole due to their shared roots. All four films take place in cavernous, warehouse-like spaces that are divided up with screens and mirrors. The screens change between being opaque and transparent, either through use of lighting or the projection of images, creating a play of shadows and / or silhouettes, light and colour, or sometimes a trompe l'oeil effect, depending on the atmosphere required by the particular performance being showcased (the trailers for Iberia and Fados show this more clearly than I am able to describe). When the projection of images onto the screens include the dancers actually performing in the sequence, a kaleidoscope-like effect of duplication and mirroring takes place, often disappearing into infinity on the screen. Likewise, there are also some The Lady from Shanghai-esque effects using the mirrors. Obviously sound is also important but I feel under-qualified to discuss that side of it -although it is a shame that the soundtracks don't seem to be readily available here as some of the music is of a goosebump-inducing quality. In Flamenco Flamenco Saura names the performers (and the title of the song / performance) in a subtitle at the start of each sequence, but in these earlier films we just get the titles -although I recognised some of the names in the opening credits, I generally had to wait until the closing credits to work out who sang / danced what.
I don't really have anything else to say about these films at the moment, but if I take on the project, I'll revisit them (and do some research).

   The blog will be quiet for the next couple of weeks, but once we get into September my work situation will revert back to what it was this time last year and I should be able to start posting more regularly again and with a bit more variety in content.

Post no.100: Nadie conoce a nadie / Nobody Knows Anybody (Mateo Gil, 1999)

    So I thought it about time (what with this being my 100th post) that I take a look at the film that gives this blog its name [I have kept it as spoiler-free as possible]. As will be apparent (through previous posts), my area of research has been star studies, specifically contemporary Spanish stardom and how interactions that actors / stars have with the national (i.e. concepts of ‘Spanishness’) change over time. I had four case studies that examined the careers of actors who started working in cinema at different points in the fifteen-year period I was looking at; this made it possible to track gradual changes undergone by Spanish stardom in terms of the form and content of star images in relation to the national. That is the prism through which I first saw Nadie conoce a nadie / Nobody Knows Anybody (Mateo Gil, 1999): as a piece of the puzzle in considering these issues in relation to the career of Eduardo Noriega. In relation to the people I took as case studies, Noriega emerged in the mid-1990s when the stardom of Javier Bardem and Penélope Cruz was still in ascension, and Paz Vega (the fourth of my case studies) had yet to appear. He therefore overlaps two distinct ‘groups’ (I’m deliberately avoiding the word ‘generation’) of Spanish stars from the contemporary period: that of Bardem, Cruz and Jordi Mollà, and that of Vega and the El otro lado de la cama (Emilio Martínez-Lázaro, 2002) gang, and arguably that is manifested in how his stardom and his interactions with the national share different traits with both groups. The Spanish press has constructed a star narrative for Noriega that aligns him with an illustrious predecessor, by seizing on the fact that he is from Santander and travelled to Madrid to study acting in 1992 (the key is that he is not madrileño); several profiles draw parallels between the malagueño Antonio Banderas going to Madrid and becoming a ‘chico Almodóvar’ in the 1980s and the santanderino Noriega going to Madrid and becoming a ‘chico Amenábar’ in the 1990s (Díaz-Cano 1999:16). 

Another Book Added

Torres Hortelano, L. J. (ed) (2012) - World Film Locations: Madrid, Bristol: Intellect Books. ISBN: 9781841505688.

'When a book on cinema is launched, the first thing that one might try to do is figure out exactly what type of book it is. The book may be aimed at cinephiles, academic scholars or even those who just love to talk about movies. The World Film Locations series does not fit comfortably into any of those categories. What readers will find are the myths and the facts that explain what cinema is today through the representation of the city. We can see what remains today from the early twentieth up to the twenty-first century, and also what cinema has become. Movies are one of the most powerful cultural means of expression and catalyst for society. This series focuses on the representation of an area that was born alongside cinema: the city.' (p.5)

   Part cinematic appreciation, part travel guide, this book is effectively a love letter to Madrid and its various onscreen incarnations. It brings together seven bite-sized essays on various aspects of Madrid's representation(s) on film with an examination of forty-four scenes from different films. The introduction states that the 'criterion for the selection of films is not so much the length of footage that is dedicated to the city [...] but the importance of the scenarios, buildings or monuments in the narrative of the film, as well as the intrinsic role of the city of Madrid to the film as a whole' (p.5). The scenes are arranged throughout the book in chronological order (dating from 1912 to 2009), so we get a sense of change over time not just in terms of how the city has been utilised onscreen but also how the city itself has evolved. Each 'set' of scenes includes a map with the locations marked on it, and the two pages that each film receives include stills from the scene in question as well as photographs of the locations as they are today. The discussion of each scene is only a paragraph long but that's enough in most cases to give you a taste of the film and how the scene and its use of the city fit within the film overall. Having felt that Intellect's Directory of World Cinema: Spain was a bit light on a particular high-profile director, I was pleased to see that several of his films appear in this volume: a consideration of Madrid as a cinematic city would be seriously lacking if it did not give Pedro Almodóvar a certain prominence. But there are a range of films and directors included, including non-Spanish films that have sequences set in Madrid. Overall, I felt that the bite-sized essays take some interesting angles on the book's theme, and the scene discussions serve as a good taster for the films (there are certainly some that I haven't seen, but will now try to track down). Recommended.
I will add the title to the Books on Spanish Cinema, Part Two post. The list of contents (including film titles) is below.

Introduction
Madrid: City of the Imagination -Lorenzo J. Torres Hortelano
Scenes 1-8 (1912-1951):

Asesinato y entierro de Don José de Canalejas / The Assassination and Burial of Don José de Canalejas (Enrique Blanco and Adelardo Fernández Arias, 1912), El sexto sentido / The Sixth Sense (Nemesio Sobrevilla, 1929), La verbena de la paloma / Fair of the Dove (Benito Perojo, 1935), La torre de los siete jorobados / Tower of the Seven Hunchbacks (Edgar Neville, 1943), Domingo de carnaval / Sunday Carnival (Edgar Neville, 1945), Siempre vuelven de madrugada / They Always Come at Dawn (Jerónimo Mihura, 1948), El último caballo / The Last Horse (Edgar Neville, 1950), Surcos / Furrows (José Antonio Nieves Conde, 1951).

Madrid in Motion: Squares, Corralas, Markets, Verbenas -José Luis Castro de Paz and José Ramón Garitaonaindía de Vera
Scenes 9-16 (1955-1965):

Muerte de un ciclista / Death of a Cyclist (Juan Antonio Bardem, 1955), El inquilino / The Tenant (José Antonio Nieves Conde, 1957), El pisito / The Little Apartment (Marco Ferreri, 1958), El cochecito / The Little Car (Marco Ferreri, 1960), The Happy Thieves (George Marshall, 1961), La gran familia / The Great Family (Fernando Palacios, 1962), El mundo sigue / Life Goes On (Fernando Fernán-Gómez, 1963), Chimes at Midnight (Orson Welles, 1965).

Iván Zulueta: Films of Madrid's Underground -Steven Marsh
Scenes 17-24 (1967-1984):

La busca / The Search (Angelino Fons, 1967), Cría cuervos / Raise Ravens (Carlos Saura, 1976), Elisa, vida mía / Elisa, My Life (Carlos Saura, 1977), Ese oscuro objeto de deseo / That Obscure Object of Desire (Luis Buñuel, 1977), Asignatura pendiente / Unfinished Business (José Luis Garci, 1977), Maravillas (Manuel Gutiérrez Aragón, 1980), Las bicicletas son para el verano / Bicycles Are For the Summer (Jaime Chávarri, 1984), ¿Qué he hecho yo para merecer esto!! / What Have I Done to Deserve This? (Pedro Almodóvar, 1984).

Embracing Normalcy: Madrid Gay Cinema at the Turn of the New Millennium -Helio San Miguel
Scenes 25-32 (1987-1997):

La ley del deso / Law of Desire (Pedro Almodóvar, 1987), Siesta (Mary Lambert, 1987), ¡Atame! / Tie Me Up! Tie Me Down! (Pedro Almodóvar, 1990), El día de la bestia / Day of the Beast (Álex de la Iglesia, 1995), La flor de mi secreto / The Flower of My Secret (Pedro Almodóvar, 1995), Nadie hablará de nosotras cuando hayamos muerto / Nobody Will Speak of Us When We Are Dead (Agustín Díaz Yanes, 1995), Tesis / Thesis (Alejandro Amenábar, 1996), Barrio / Neighbourhood (Fernando León de Aranoa, 1997).

Madrid: Unexpected Dream Factory -Helio San Miguel
Scenes 33-38 (1997-2002):

La buena estrella / Lucky Star (Ricardo Franco, 1997), Abre los ojos / Open Your Eyes (Alejandro Amenábar, 1997), Segunda piel / Second Skin (Gerardo Vera, 1999), El corazón del guerrero / Heart of the Warrior (Daniel Monzón, 2000), Lucía y el sexo / Sex and Lucía (Julio Medem, 2000), Hable con ella / Talk to Her (Pedro Almodóvar, 2002).

Beyond the Cliché: Madrid in Twenty-First Century American Thrillers -John D Sanderson
Scenes 39-44 (2003-2009):

Noviembre / November (Achero Mañas, 2003), Camarón (Jaime Chávarri, 2005), The Bourne Ultimatum (Paul Greengrass, 2007), Deception (Marcel Langenegger, 2008), Los abrazos rotos / Broken Embraces (Pedro Almodóvar, 2009), The Limits of Control (Jim Jarmusch, 2009).

Bright Young Things: Neo-existentialism in Madrid Cinema of the 1990s -Rafael Gómez Alonso
Resources
Contributor Bios
Filmography

Random Viewing: Classic Edition

   This blog concentrates on cinema from the 1990s onwards, but I've recently been watching a series of older films and thought that I may as well include them in the Random Viewing thread.

   First up is La escopeta nacional / The National Shotgun (Luis García Berlanga, 1978). Berlanga is a key figure in Spanish cinema (and a strong influence over a range of filmmakers of different generations) but seemingly little-known outside of Spain (in terms of the UK, his films have not been released here). I had previously seen one of his earliest films, ¡Bienvenido, Mister Marshall! / Welcome, Mister Marshall! (1952), which I enjoyed very much, and I have copies of two of his other classics (Plácido (1961) and El verdugo / The Executioner (1963) (not watched yet)) but it's quite difficult to get hold of his other films. I have discovered that some of them are available to stream (without subtitles) at Filmotech, so I'm going to work my way through them. La escopeta nacional is the first part in a comedic trilogy (followed by Patrimonio nacional / National Heritage (1980) and Nacional III / National III (1982)). This first part is set during the dying days of the Franco regime and is a send-up of the bourgeoisie at play; a hunt (a recurring motif in Spanish cinema, in part because it was one of Franco's past-times) on the estate of a somewhat unhinged aristocratic family is the backdrop for familial backstabbing, political power plays and various other grotesqueries, seen through the eyes of a Catalan businessman (José Sazatornil) who just wants to make the connections to enable him to develop a new kind of door-entry intercom. One of Berlanga's cinematic traits is the use of large ensembles (with the attendant overlapping dialogue) and there is a brilliant range of faces onscreen here, including José Luis López Vázquez, Luis Escobar, Amparo Soler Leal, Luis Ciges, and a very young-looking Chus Lampreave (a recurrent figure in Almodóvar's films). I imagine that many references went over my head as I'm not overly familiar with Spanish society of this period, but the broader references and skewering of the hypocrisies of authority hit their target. Expect the next two parts of the trilogy to make an appearance on here in the future.

   Berlanga's first feature (Esa pareja feliz / This Happy Couple (1951)) was co-directed with Juan Antonio Bardem -and it was one of Bardem's key films that I watched next. Muerte de un ciclista / Death of a Cyclist (1955) opens with the titular death as a couple hit a cyclist while driving in the countryside. Fatally, they decide not to offer assistance (the cyclist is still alive when they stop) and flee the scene as they (María José -played by Lucia Bosé- and Juan -Alberto Closas) are having an affair and do not want to expose their relationship. The event impacts on them in the same way -it reveals their true natures- but with different results: Juan, a university professor, is tortured by guilt and finding the political idealism of his youth reawakened decides that the 'right thing' would be turn themselves in; but the shallowness of María José is revealed as it becomes apparent that she will protect her social status (she is married to an important man) at all costs and shows very little concern about the life that she ended (she was driving). Throw in a blackmailer (played with a wonderful Peter Lorre-esque sliminess by Carlos Casaravilla), who may know less than than he insinuates to María José but is close enough to her husband to cause problems, and the tension amps up to Hitchcockian proportions. The film is an effective suspense drama (will the police catch them? will their affair be exposed? how will they deal with the blackmail?) but Bardem also manages to make social commentary by highlighting the gap between rich and poor without turning the film into a political treatise. Muerte de un ciclista has received the Criterion treatment in the US but predictably is unavailable in the UK -although there does seem to be a region 2 Spanish disc. I watched it on Filmotech and it is well-worth seeking out. It is beautifully-shot and certain scenes are strikingly (and memorably) composed. I also liked the ambiguity of the final image. 

From the opening sequence of Muerte de un ciclista

The Goya Awards 2012: the winners

Jose Coronado and Enrique Urbizu

   I stayed up last night to ‘watch’ The Goya Awards 2012 through the power of twitter (a more enjoyable way to take in the results than actually watching the gala, to judge by some of the online commentary –although the spectacle of Juan Diego and Antonio Resines rapping is something I will have to catch up with). In the end, the prizes were quite evenly distributed between the five frontrunners (Blackthorn -4, Eva -3, La piel que habito -4, La voz dormida -3, No habrá paz para los malvados -6).
   The overall winner was No habrá paz para los malvados, which took the main prizes of Best Film, Director (Enrique Urbizu), Actor (Jose Coronado), and Original Screenplay (Michel Gaztambide and Enrique Urbizu), as well as Editing and Sound Mix. There were a few surprises –the awards had mainly seemed to be regarded as a battle between No habrá paz para los malvados and La piel que habito, but Blackthorn took four of the main technical prizes (including Cinematography and Production Design) and Pedro Almodóvar also missed out on Best Adapted Screenplay (which went to Arrugas, the first animated film to win in such a category). La piel que habito eventually went home with Best Actress (Elena Anaya), Best Male Newcomer (Jan Cornet –another of the surprises as it was widely expected to be won by Jose Mota for Álex de la Iglesia’s La chispa de la vida), Best Score (Alberto Iglesias), and Best Make-Up. I’ve not yet seen Eva or La voz dormida, so I cannot yet comment on the merits of Kike Maíllo winning Best New Director and Lluís Homar Best Supporting Actor for the former, or María León Best Female Newcomer and Ana Wagener Best Supporting Actress for the latter. Hopefully they will get a DVD release soon. On the other hand, I finally caught up with No habrá paz para los malvados at the weekend (post forthcoming) and can say that Coronado and Urbizu thoroughly deserve the successes that came their way.
Main category winners listed below (at some point I will add a link to the full list of winners on the Academy website, but it has been under attack and is not currently working):

My current obsession:

"Balada Triste de Trompeta" Title Sequence from David Guaita on Vimeo.


    Balada triste de trompeta is one of the films that I'm hoping to write a longer piece about. At the moment, however, I have become slightly distracted by the opening credits, which manage to condense around forty years of Spanish history into just over two minutes. They are designed by David Guaita (incidentally, I think that all of the reviews I've read mention the opening credits in glowing terms, but none of them actually mention the name of the designer), and you can read an interview with him (in English) about the process of making the sequence on his blog.
    I think that he’s right that the sequence probably has more impact for a Spanish person, but even as a non-Spanish person who does not recognise every individual included (I’ve actually worked backwards by making a list of key figures in the regime and then googling them to find out what they looked like, and I also looked at the list of people thanked by Álex de la Iglesia in the end credits to put a few more names to (the non-political) faces), the combination of the music with the rhythm of the cuts and the intercutting with icons of horror cinema gives a sense of deep foreboding.
    When I’ve got a bit more time, I’ll write a detailed piece about it because I think that these two-and-a-bit minutes are a mini-masterpiece of filmmaking.

My first Spanish film: Jamón, jamón (Bigas Luna, 1992)

Javier Bardem, Penélope Cruz, and Jordi Mollá on set in 1991

   I wanted to write something to mark the first anniversary of the blog. I was in half a mind to write about the film that this blog takes its name from (Mateo Gil's Nadie conoce a nadie), but on balance decided that writing about the first Spanish film I ever watched was a better fit to the occasion. By happy coincidence, Jamón, jamón also celebrates a significant anniversary this year: it was released twenty years ago in Spain (in September 1992).