Saturday, June 5, 2010

Why Have Metal Around Base Of Trees

La casa del angel (Leopoldo Torre Nilsson, 1957) Louis Philippe

"I speak to him, has already left the table, my eyes get to the knot of his tie and stop, never have gone there. That silence, not thank the cup of coffee is between us, the only wedding. Mean absolute possession of me. "

is not only influenced by the first Bergman ("Prison"), for "Wuthering Heights" or restlessness Lorca, but Torre Nilsson in turn serves as a reference, among others, for Buñuel that only a few years later become the iconic Angel of Death in impasse in their films. And is that who else would dare to deny the inspiration that was the Aragonese in choral episode in the brothel, killing everything in a fire which, in this case, their specific characters make it out.

Apart from details to the gallery, something irrelevant but descriptive enough, " Leopoldo Torre-ubiquitous author without apparent effort he combined genres as diverse as comedy, melodrama or patriotic eulogy endowed "La casa del angel" in a sordid line marking, showering of characters dressed in a double (or triple) moral , flooded by a fatal destiny, impenetrable. They mix it curious ideological arguments of the pre-Peronist ( "I always read his speeches are very cute!, But say things that do not understand about the poor" ) with an iron and atosigante religious scruples, which will cover with black over the life of her stormy character, a young man trained in the most extreme conventionalism in the spiritual climax brutal, where death and its shadow are handled with ease and eagerness sports from minute one. The sword of sin is suspended at any time on its head. Also the bad conscience over the minds of those around her, unable, like her, to skip the psychological barrier to a real adventure, whether sentimental or political life in any case. Attractive travellings

the first sequence and the always incisive run from the camera at the middle to get a sense of unreality near the phantasmagoria in this cruel and uncompromising film, full of cynical and disenchanted, wildflower and unredeemed in of the thick forest that is the Argentine cinema of the forties and fifties.


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