A film without a precise plot but rather it develops in the form of episodes that sometimes intertwine with each other, just an etching or a sketch of those one-minute portraits that painters made in the streets of Madrid around 1950, in which it is still in a latent postwar period (Spanish Civil was from 1936 to 1939) . The capital was then, more than ever, the axis of Spain that tried to be like the average Spaniard was. A grey place still rationed, tender and cruel, poor and convalescent, but also mischievous, festive and surreal. The movie shows a carousel of numerous citizens trying to make a living in a gloomy country.
This is a thought-provoking drama filmed with great sensitivity and feeling. It's an intelligent and touching story although sometimes is a little bit boring and tiring but is finely developed with sense of style and sensibility . Pleasant drama , plenty of sensitivity , emotion , artistic scenes and abundant scenarios filmed on evocative interiors perfectly photographed (Although a perfect remastering is necessary since the copy of the film is in poor condition). Garci, winner of the first Oscar for the best foreign language film for ¨Volver a empezar¨, closes here his trilogy on nostalgia, which he began with ¨You're the one¨, and ¨Historia de un Beso¨.
This time he is filming the script again with his usual collaborator Horacio Valcarcel, and his gaze to the past is directed this time to the everyday scenes of Madrid in the fifties, the cafes, the cinemas, schools and walks of childhood. More than a real plot, it is a compilation of life fragments, of memories of a past full of good intentions. This is Garci's return to top form, with a brooding and engaging script which uses entertaining situations to give us a good movie in a high sense and intimate sensitivity and that kept me entertained for the almost two hours of duration . Filmed in his usual formal and luxurious style , without leaving a trace the joyful themes , in terms of dramatic and narrative excitement .
The director has counted on a truly luxurious choral cast with more than 70 actors, and which includes very well-known names from the cinema of yesterday and today. That is why it is a real fun to guess the long list of actors who appear parading here and there, among which are the following: Alfredo Landa, Fernando Fernán Gómez, Antonio Dechent, Fernando Delgado, Tina Sainz, Carlos Larrañaga, Agustín González, Fernando Guillén Cuervo, Carlos Hipólito, Javivi, María Kosty, Ana Fernández Santiago Ramos, Beatriz Rico, Ángel de Andrés López, María Asquerino, Aurora Bautista, Frank Braña and many others.
After his collaboration in previous films, Garci reprises with the cameraman Raul Pérez Cúbero who makes a careful photography, as well as the composer Pablo Cervantes who usually uses the piano to provide the film's sensitivity and adding a select collection of songs, both cameraman and musician give unity to Garci's trilogy.
The film had 6 nominations for the Goya Awards (film, actor, best new actor: Jorge Ri-oelas, costume photography, makeup/hair, and production design) and finally won the last of them, the work of the master Gil Parrondo (winner of two Oscars for Nicolas and Alejandra and Patton), who created 24 different sets for the film.
The motion picture was compellingly directed by Jose Luis Garci (El Crack I, II, Luz Domingo) who won one Academy Award for ¨Volver a Empezar¨. José Luis Garci is without a doubt one of the most influential film personalities in the history of film in Spain and perhaps the best known writer in the country. He has left a distinguished talent in his successful movies throughout the years: La Cabina (1972), Las Verdes Praderas (1979), El Crack (1981), Volver a Empezar (1982), Canción De Cuna (1994), La Herida Luminosa (1997), El Abuelo (1998), Tiovivo c. 1950 (2004) and Ninette (2005) , among others. Rating : 6.5/10. Better than average and well worth seeing . For these reasons is essential and indispensable watching .
