jueves, 21 de marzo de 2019

Dulces horas (Carlos Saura, 1982)


























Original title:  Dulces horas
English  title:  Sweet hours


Year 1982
Running time 106 min.
Countries: Spain, France
Filming locations: Guadalajara, Segovia, Madrid (Spain)
Director Carlos Saura
Screenwriter Carlos Saura
Cinematography Teo Escamilla
Cast
Iñaki Aierra,  Assumpta Serna,  Ofelia Angélica,  Álvaro de Luna,  Marion Game, Magdalena García,  Alicia Hermida,  Pablo Hernández Smith,  Jacques Lalande, Clara Merin,  Isabel Mestres,  Luisa Rodrigo,  Alicia Sánchez,  Antonio Saura, Julien Thomas




SPANISH
Juan es un dramaturgo atormentado por su pasado. Su padre está perdiendo la memoria y su madre se suicidó, aún siendo joven, en 1942. Con la voluntad de averiguar más sobre esos oscuros años, Juan ha escrito una obra de teatro titulada ‘Dulces horas’, en la que recompone sus recuerdos. Juan asiste a los ensayos atento y absorbido por lo que pasa en el escenario. Busca alguna clave que le permita averiguar la verdad que se le escapa. Los pensamientos del autor saltan de lo que ve sobre las tablas a sus propias vivencias, hasta conseguir iluminar aquellas fases que permanecen en tinieblas. Al fin rememora la verdadera naturaleza de la relación con su madre, de carácter edípico. En coherencia con estos sentimientos, Juan acaba por enamorarse de Berta, la deslumbrante actriz que interpreta a su progenitora.


ENGLISH
Juan Sahagún, since childhood, feels passion for his mother. A day in the street sees a woman identical to her. He follows her and finds out that she works as an actress in a theater company, so Juan decides to hire the whole company to represent the people who have influenced him in his past. They recreate the same situations of yesteryear and Juan acts as the child he was, to relive the memories already forgotten.




Another graceful, measured Freudian-fantasy game by the Spanish writer-director Carlos Saura. The hero (Iñaki Aierra) is a playwright so obsessed with memories of his childhood that he has written a new play that contains the key scenes of his early life. The play (Sweet Hours) is in rehearsal, and he attends the sessions watchfully, rapt. He's searching for something. (Can it be the clue to what's always missing from Saura's films—the final burst of energy that would make everything count?) Eventually, the searching playwright dredges up the repressed material, and his Oedipus complex is resolved. Saura has given his hero a bonus—a perfect wish fulfillment—by having him fall in love with Berta (Assumpta Serna), the stunning young actress who is rehearsing the role of his mother. This might seem like an exploding Buñuelian joke, but the entire movie is cultured and dignified; it's on gliders—it's smooth and languorous, and with intricately choreographed shifts from the present to the theatrically performed past and to the remembered past. What saves it from pedantry is that from time to time the images have an erotic tingle. Something sexual hovers in the atmosphere, especially when the tall, wide-eyed Assumpta Serna is on the screen.
-Pauline Kael (She was an American film critic who wrote for The New Yorker magazine from 1968 to 1991)



This movie has the kind of subtle obviousness that is generally described as literate. What it comes down to is that Carlos Saura has a feeling for dark, autumnal elegance, and a dexterous technique that he puts at the service of tired ideas. What saves him from pedantry is that his films have occasional moments of erotic vibrancy. Scenes that aren't explicitly sexual in content are sexualized, so that they become ambiguous and disturbing - even haunting...In a Saura film, something more directly sexual is often impending; it hovers in the atmosphere. ..the wide-eyed Assumpta Serna, when she smiles, has a teasing elusiveness..She makes the atmosphere hum..perhaps Saura means us to see that the cycle is inescapable..The enigma of Saura is his addiction to enigma."
-Pauline Kael (She was an American film critic who wrote for The New Yorker magazine from 1968 to 1991)



En Dulces horas la actriz revelación se llama Assumpta Serna.  Saura definía su película como la obsesión que todo hombre tiene por su pasado que es lo único con lo que el ser humano cuenta. De ahí la canción que canta Imperio Argentina donde se subraya el verbo recordar.

Los actores se estrenaban con Saura, caso de Iñaki Aierra, actor novel cuyo personaje  contrataba a una compañía de actores para interpretar a personajes que fueron decisorios en su vida. Este tipo de procedimiento tiene mucho de Bergman, de Fellini o de Woody Allen que acababa de estrenar precisamente Stardust memories, una magnífica película escasamente valorada por la crítica y que aquí se tradujo curiosamente como Recuerdos.

Saura regresaba en Dulces horas a cierto sentido teatral en una película que rezaba como coproducción hispano-francesa, de ahí la presencia de Jacques Lalande encarnando a un divisionario azul de la familia.
Los actores tenían una experiencia contrastada en el teatro, caso de Lalande y de Luisa Rodrigo. En el equipo sigue Saura siendo fiel a un equipo. Está Emilio Sanz de Soto o Primitivo Álvaro, director de producción desde los tiempos de La caza. En el reparto hay una niña de nueve años –Magdalena García- otro ejemplo del gusto de Saura por los personajes infantiles.

A Saura le interesan sobremanera los retratos de familia y Dulces horas es otra de sus proyecciones familiares.

-Luis García Gil (escritor)






Audio: Spanish
Subtitles: English, Russian, Brazilian Portuguese (muxed)
Resolution: 608x320 pixels
Weight: 898 MB

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