BACK TO LISBON TORRENTE MYSTERY
Friday, March 18, 2011
Green Green Episode 13 Uncensored Dubbed
(an image that could be of any Torrente) I have not seen
Torrente 4, and saw the 3 or 2. I had enough with the first and the number of problems that brought me to write a negative critique of the film frames. That was one of the few times (there have been any more) that a director told the magazine called to ask for explanations of why makes it a bad review. Are ways of being certainly different upbringings. The truth is I did not want to talk about Torrente, but given the success of the film, I felt a slight shudder, a shiver of what it means. So I reproduce here the criticism that I did the first Torrente in 1998. Not if Torrente is valid for 4, but I imagine so. TORRENTE
ARM OF THE LAW TONTO
I must confess that I was very curious to see what Santiago Segura had faced for his first feature since his shorts had seemed quite interesting. Maybe that's why I was disappointed Torrente silly arm of the law was much higher than I expected, especially because, contrary to what is apparent from their statements, I find a very reactionary film.
And here I must clarify that Torrente is not a reactionary and conservative film because its hero is a policeman fascist, racist, fat and dirty. There are many such characters in movies - remember the Quinlan-Welles Touch of Evil? - not the films are so reactionary. There are arguments that make the film whether right or left. What makes a film is placed on either side of that imaginary line that is the ideology is the way things account.
Violence, for example in itself is not bad, depending on how you use: Tarantino exaggerates and takes to the field of comics, Stone, the sublime and the investigation becomes formal, Haneke the dissection as a scientist, the McNaughton placed in an area of \u200b\u200bcold unbearable, Azcona, whether Berlanga, Ferreri and Garcia Sanchez, becomes hollow. All these authors have stories that are not far from this torrent, but the difference is that Santiago Segura makes no distance between their images and the viewer: no irony, humor, cynicism or criticism. There is an immediate impression of reality that leads to the identification. And that's what makes it reactionary.
Another thing. When dealing with the grotesque characters that border the national cutrez or dandruff, you need to know to use them: Buñuel's Viridiana, or closer, Almodóvar on What Have I Done to Deserve This?, Or even closer, Alex Church on the day of the beast. You can get a blind and lame, The Forgotten, without losing respect for the viewer, you can not, however, use a character as the daughter of Chus Lampreave subnormal.
And yet I have a third argument: This popular has nothing to do with the trash. It is in our country, a curious phenomenon that Torrente is the tip of the iceberg, which is identified as popular with the trash. Popular culture is an asset, that has nothing to do with raising the level of cultural garbage. Not only I have nothing against reading the Viper or the more extravagant fanzines, many of them authentic remnants of transgression, but if you think I am against all that is modern, all valid and all young. Intelligence is shown in the balance. As you rightly said Tarantino, there to do Z-movies, but if you do not know John Ford or Godard, you got it wrong. Knowing only trash culture produces more trash culture. And that, gentlemen, is very dangerous. Nuria Vidal
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