The classic “Frankenstein” with Boris Karloff is shown in a small country cinema in a Castilian village in the early 1940s. Little Anna is subdued by the form of the monster. Her older sister reassures her, convincing her that the monster is an immortal spirit that easily comes to life by taking human form. Anna searches for the spirit and believes she finds it alive again in the face of a civil war guerilla hiding in the area.
One of the greatest films of Spanish and world cinema and certainly one of the most important re-releases of the summer, overshadows every new film this week.
In 1973, in the midst of the dictatorship, Erithe shoots this symbolic film to keep historical memory alive in the hideous oblivion imposed by the Frankish regime. The film has a special value, both for the historical period it was filmed in, and for the historical period it refers to. It is great in form and content. It is one of those films that every time you come back, you realize new aspects of it. He manages to bring together different film genres in a unique way. Without a sophisticated script, with a simple story at its core, but countless symbolisms, it contains the fantastic, the poetic, the social and the political cinema. Thoroughly irradiating the myths, he talks about the social reality. Through the eyes of the children it shows us which side of history it is on, through the eyes of the parents the distancing of society from the crime that is being committed. Multiple readings of the script’s individual elements lead to a unique conclusion. The junta that plunges society into confusion is not eternal, the resistance will always find its way to the light, it will plant the seed of doubt in the new generation, it will prepare the future.
Visually, it is a masterpiece, both for Eriche’s magical direction and for the unique cinematography of Luis Cuantrado (who shot the film nearly blind from a brain tumor). The lead roles are another great aspect of the film, with young Anna Torrent standing out. It’s worth discovering.