Fernando Fernan Gomez

Fernando Fernan Gomez

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The Spirit Of The Beehive Review


Essential
Frankenstein's monster holds a peculiar place in pop culture. Old bolt head, perhaps because of his British invention, remains the grimmest of screen ogres. When you think of the revisionist fiend trinity - vampire, wolfman, Frankenstein - the green guy, who's really just a patchwork of dead people brought to life by a stroke of lightening (and genius), is the one who just feels heartbroken. Maybe it's because vampires (today) are so sleek and sophisticated. They scream Paris. They drip haute couture. Wolfmen are the beastly Eastern bloc grunts. The workers. They howl for whiskey. It's Frankenstein, forever embodied with Boris Karloff's face, which oozes despair. He's the monster who never really wanted to be a monster. The one who kills not for food, not for revenge, but simply because he cannot understand life.

The children who chase down Frankenstein's monster (the James Whale incarnation) in Victor Erice's 1973 film, The Spirit of the Beehive, aren't really after a flesh and black-blood beast. They're chasing down death. Like most children they're not only terrified but also fascinated with shadows. Like all children who cannot conceive of the finality of death, they are fascinated by death.

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The City Of No Limits Review


Very Good
The City Of No Limits has just about everything: a health crisis, a 40-year-old mystery, three Dynasty episodes worth of backstabbing family intrigue, and an extended Spanish family battling over its destiny. There's never a dull moment.

The city in question is Paris, where Max, the family patriarch and owner of a large pharmaceutical company, has traveled from Madrid seeking treatment for a tumor that has left him slightly demented and close to death. By his side is his wife Marie (the formidable Geraldine Chaplin, as thin and cold as an icicle), who clearly has something dark on her mind. She's joined by her three sons, Luis (Roberto Alvarez), Alberto (Alex Casanovas), and the youngest, Victor (Leonardo Sbaraglia), who flies in from Argentina with his girlfriend (Leticia Bredice) for what may be Max's death watch.

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Butterfly Review


Good

A compelling marriage of innocence and intellectualism, "The Butterfly" views the see-sawing political upheaval of 1936 Spain through the life of a worrisome, bookish little boy.

Our young hero -- an asthmatic tailor's son named Moncho (Manuel Lozano) -- becomes fascinated by learning through his affectionate tutelage under an old schoolmaster (legendary Spanish thespian Fernando Fernan Gomez, "The Grandfather," "Belle Epoque"), whose involvement in humanitarian causes and whose open eschewment of the church put him in the crosshairs of the right-wingers critical of the precarious current government.

But, understandably, Moncho more interested in playing in the fields near his village and learning about life and nature from his mentor than he is in the freedom newly tasted by revolutionary republicans like his teacher and cautiously activist parents (played with tenderness and depth by Uxia Blanco and Gonzalo Uriarte). He takes only minor notice of the way fear and paranoia about losing their newly won rights is a constant topic of conversation among the grown-ups around him.

Continue reading: Butterfly Review

Fernando Fernan Gomez

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Fernando Fernan Gomez Movies

The City of No Limits Movie Review

The City of No Limits Movie Review

The City Of No Limits has just about everything: a health crisis, a 40-year-old mystery,...

Butterfly Movie Review

Butterfly Movie Review

A compelling marriage of innocence and intellectualism, "The Butterfly" views the see-sawing political upheaval of...

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