A Espinha do Diabo

Some people think horror is about busty teens and young rebels being picked off by mysterious killers or lots of gore from a made up creature. Well this film has neither so stay away.

What you do have is a stunning film with great actors playing real people with real issues. Three or four stories are interwoven perfectly, set off with great imagery...all set around the Spanish civil war and the haunting corridors of an orphanage for abandoned children.

While the film does contain a ghost -the murdered child, Santi- the real horror of the film comes from the greed of certain adults who occupy the orphanage with the children.

This film is intelligent poetry on screen -mortality, love, hate, jealousy, greed and redemption are all explored.

This film puts many films to shame just for having a great story at it's core.

I'm a massive fan of the horror genre, but I don't like ghost stories. To me, ghost stories are a poor manifestation of the genre. It's not the idea of ghosts that's the problem, it's the way the stories are presented; often dull, slow moving and uninteresting, and those are things that do not make a good movie. However, there is an exception to every rule; and this film is the case with that one. The Devil's Backbone is a mesmerising and inventive addition to the ghost story tradition. The film moves slowly, but that is a definite advantage to it. The slow pace allows us to get to know, and even care for the characters before the horror starts, and this makes the horror all the more potent when it does start. The Devil's Backbone has been touted as 'the Spanish Sixth Sense', and although this is unfair as this is hardly a bad film; I can see where that notion is coming from. The main difference between the two, however, and the reason why this film works and Shyamalan's doesn't is that the parts between the horror here aren't boring, are well acted and serve a purpose in that they allow us to get to know the characters; Shyamalan got too caught up in trying to make his twist work and the drama in-between caught the brunt of that, rendering the film boring.

The film can't really be accurately described as a 'horror film', it's more of a drama come character study with horror elements. The horror elements are pronounced, as the ghost is the centrepiece of the story, but the film doesn't focus on them enough for it to be considered horror. Entwined within it's plot is a coming of age tale, a story of revenge and a nice little section on 'what is a ghost'. I like it when a film delves into it's subject material and attempts to give something of an explanation; Return of the Living Dead did it for zombies (albeit comically), and The Devil's Backbone does it here for ghosts. The coming of age side of the story is brought to life brilliantly by some sublime acting courtesy of the young cast. Entwined within the story are themes of the kids being thrust into a situation that requires them to grow up fast, and it also sees them dealing with themes of death and revenge.

One thing you will instantly notice about this film is the fantastic cinematography. The film has a gritty style, but despite this it manages to come off looking crisp and clean. There are some shots that are incredibly beautiful. All shots with the ghost, which is one of the best crafted ever, come to mind immediately but also of note are the underwater sequences, the special effects and the capture of the location. The film is set in an orphanage somewhere the Spanish desert, and this location serves the movie magnificently. The fact that it's a day's walk away from the nearest town makes the film very isolated, which allows the horror more potency. Guillermo Del Toro is an obviously talented director. He has this film under his belt, along with Cronos (which I haven't yet seen, but have heard great things), but after that it's hit and miss. Blade 2 was a good film, and a refreshing one after the lackluster first part; but Mimic wasn't very good on the whole, despite some good moments. More recently he's gone on to direct Hellboy, which again I haven't seen but it looks like another fun film. I hope Del Toro makes a return to art soon, he has the talent and it would be a shame to lose him to 'decent' films.

'El Espinazo Del Diablo' is set in an orphanage (that beautifully symolizes Spain during the civil war) just before the fall of Catalonia. It works both as a gripping political drama and an engaging ghost story. Del Toro brings cleverly brings the elements of both genres together to tell the story, something he also accomplished in his more recent 'El Fauno del Laberinto' (where he amazingly combines fantasy horror with political drama).

Just like with 'El Fauno del Laberinto', Del Toro has taken care that this film isn't neglected in the aspects of film-making. The cinematography stands out. The yellowish tint stresses on the stifling heat and adds to the deserted isolation of the orphanage. The use of symbolism and riddles is remarkable. The details, e.g. flies buzzing around corpses, dusty atmosphere etc are given considerable attention. Visuals are just as impressive e.g. bloody flying in the air like a part of the wing. Del Toro extracts fine performance from all the actors. Seasoned actors like Federico Luppi, Marisa Paredes and Eduardo Noriega (in a menacing role) are superb to say the least but the child actors too hold their own.

The characters in 'El Espinazo Del Diablo' represent very distinct qualities that make a human nature. For example, Jacinto as the greedy one and Carmen's object of lust, Carlos as the innocent but determined one and Casares as the wise and silent one. In addition to that, the film itself is very poetic and metaphorical. There's a beautiful scene where Casares tells Carlos what a ghost is. Well, I won't say what was told but that was a very powerful scene.

In a nutshell, 'El Espinazo Del Diablo' is a horrifying, tragic but beautiful film. It will provide you with more than what you expect...as long as you don't know what to expect.

A beautiful, atmospheric story about a haunted orphanage. To date, I think it's Del Toro's most "complete" film, combining his trademark visuals with a very touching story about war, death, guilt and grief - and ultimately hope.

Like 'Pan's Labyrinth' the story is set against the backdrop of the Spanish civil war (although here the war serves merely as a background noise). The film is so beautifully shot that I would recommend it even to people who don't normally like ghost stories (it does have some scary moments, mind); this one transcends the horror genre. 8 stars out of 10.

In case you're interested in more underrated masterpieces, here's some of my favorites:

imdb.com/list/ls070242495

THE DEVIL'S BACKBONE (El Espinazo del Diablo)

Aspect ratio: 1.85:1

Sound format: Dolby Digital

During the Spanish Civil War, a young orphan boy (Fernando Tielve) is sent to an isolated boarding school where he encounters the ghost of a murdered child (Junio Valverde) who warns him of impending disaster...

A masterpiece. Filmed in Spain by writer-director Guillermo del Toro following his unhappy Hollywood debut (MIMIC), this spellbinding melodrama works both as an examination of the political turmoil which characterized the Spanish Civil War, and as a simple ghost story in which a tragic spirit seeks vengeance for a terrible crime. Employing restless camera-work and atmospheric set designs to their best advantage, del Toro visualizes his own script (co-written with Antonio Trashorras and David Muñoz) as the story of a vulnerable child cast adrift in a strange new world, where he must contend not only with everyday problems (such as the school bully, Ínigo Garcés, whose motives are rather more complex than they first appear), but also his frequent encounters with the unhappy ghost, some of which are genuinely unsettling (watch out for the heart-stopping sequence in which Tielve is besieged in a closet by the enraged phantom).

Production values are first-class throughout, ranging from César Macarrón's evocative art direction and Salvador Mayolas' ultra-creepy sound design, through to Luis de la Madrid's crisp editing skills and Javier Navarrete's unforgettable music score. Visual effects and makeup designs are also superb, though deliberately underplayed for maximum emotional effect. The cast is toplined by Spanish movie veterans Marisa Paredes (a favorite of Pedro Almodóvar) and Federico Luppi (CRONOS), and there are impressive turns by Irene Visedo as a young woman whose loyalties are divided by circumstances, and rising star Eduardo Noriega (the Spanish equivalent of Brad Pitt) as Visedo's boyfriend, an orphan-turned-caretaker whose volatile nature leads to a dramatic conclusion, with appalling consequences for everyone around him. Tielve is magnificent as the wide-eyed innocent at the center of the narrative, and Garcés is every bit his equal as the bully who reclaims his dignity during a climactic showdown with the forces of evil. Released around the same time as THE OTHERS (2001) - another Spanish ghost story, filmed in English as a vehicle for Nicole Kidman - THE DEVIL'S BACKBONE was consigned to Art-house distribution by virtue of its status as a subtitled movie and suffered a comparative loss at the US box-office, though del Toro's magical fever dream is unquestionably the better of the two films.

(Spanish dialogue)