Entrelobos, history of an injustice
ENTRELOBOS of Gerardo Olivares
“ENTRELOBOS is a love story, a love story between a child and the nature. But also it is a movie on the friendship and the allegiance; on the survival and the capacity of overcoming”.
The director and scriptwriter of Entrelobos
Genre: It ventures
Producer: Wanda Vision
Script and Direction: GERARDO OLIVE GROVES
Producer: JOSÉ MARIA MULBERRY TREES
Juan José Ballesta: FRAMES 20 YEARS
Manuel Camacho: FRAMES 7 YEARS
Sancho Gracia: ATANASIO
Carlos Bardem: CEFERINO
Alex Brendemühl: BALILLA
Eduardo Gómez: CARAGORDA
Luisa Martín: ELIZABETH
Dafne Fernández: PIZQUILLA
Antonio Dechent: SERGEANT
Vicente Romero: HOCICOTOCINO
Agustín Rodríguez López: JUAN JOSÉ
Francisco Conde: MANUEL
Marcos Rodríguez: FRAMES 60 YEARS
José Chaves: DOROTEO
José Manuel Soto: DON HONESTO
Entrelobos (Gerardo Olivares, 2010) reconstructs the history of Marcos Rodríguez Pantoja, a man whose infancy and adolescence passed between animals, in full Sierra Morena during, nothing more and neither more nor less than twelve years (from 1953 to 1965). Marcos had been born in 1946, in the bosom of a very humble family, dedicated to the pasture and to the care of the farm of a landowner. Frames and its brother suffer constantly the ill-treatment of its stepmother. When it is seven years, its father, before the absence of economic means to be able to feed it, it delivers it to Atanasio, a goatherd who turns into its fundamental point of rest to survive in the forest, but, to its death, Marcos remains alone, without much ado company that a ferret and a herd of wolves. The child will learn to know the laws of the nature across tests essay – error, with the memory of always present Atanasio, in the shape of amulet and of the visit of its son, an awesome bandit to whom they nickname “The Balilla”, what provokes, finally, its detention in hands of the Civil Guard. Nevertheless, the end remains unfinished, the movie is not by no means a skylight as for the later vital evolution of the protagonist: What belonged to its family and to him itself (he lived with a Galician police officer, although that is not reported in the movie), if it finished or not in the jail, all this stays to imagination of the spectator. Error, from my point of view, if really it has been about to realize a real documentary.
In the movie, they are reflected, two fundamental questions:
First of all, the recreation of the myth of the “good savage”, prepared from the times of the Enlightenment by Rousseau in works as “Emilio“ or “new Eloísa” and, later, in the XIXth century personified in the personage of Mowgli of “The book of the forest” of Kipling or in the history of Víctor Von Aveyron, ride to the movies for Truffaut in “L'enfant sauvage” (1970).
Secondly, the movie is framed in the context of the hard Spanish postwar period and, more specifically, than the deep Andalusia. The division of land into large estates, system of economic injustice and associate – cultural. Once again, the official Spain and the real Spain have not anything in common. On one hand, in the middle of the 50s, it finishes the rationing (1953), the pro-Franco diet "is" "internationalized" (agreements with the United States on the military bases-1953 - visits of the president Eisenhower included and brought in in the UNO-1955) and goes out of the economic autarchy, by means of the Plan of Economic Stabilization of 1959 that gives place to the industrial development points creation and at the entry of currencies proceeding from the emigration and the tourism: Political propaganda of the dictatorship to give appearance of “normal country” in the frame of the international relations.
On the other hand, the reality is distant much of this situation: The division of land into large estates keeps on being the mark of an unjust system that was trying, theoretically, to finish with the political oligarchs of last epochs but that, really, is the form of malvivir of many peasants of the interior Andalusia and of Castile, as will report the teacher Miguel Delibes in “The innocent saints”, taken to the big screen, with enormous success, in 1984 for Mario Camus. The difference rests on that in “The innocent saints”, the progress (modernization) is symbolized by the capital opposite to the senile rural world and on “Entrelobos“ it is the life between animals what presents itself as a paradigm of the happiness (in the last scene of the movie the protagonist, nostalgic, confesses “to have learned more of the animals that of the persons”), being the performance represora of the civil guard and the despotism of the gentleman, the well-known only thing out of this bucolic, slightly believable space in my opinion.
With regard to the technical aspects, there is admirable the photo of the movie, realized by Oscar Durán, who shows us the beautiful sceneries of the nature reserve of the Saw of Cardeña and Montoro, as documentary of Felix Rodríguez of the Source; also, the music composed by the German Klaus Badelt, is an outstanding element, contributing major emotiveness and realism to the movie.
Finally, it is not necessary “to pass for high” the brilliant interpretation of some actors as Carlos Bardem in the role of Ceferino, chief of the personnel of don Honesto (José Manuel Soto), speaking with a perfect Andalusian accent and of Sancho Gracia (Atanasio) who touches the sensitive fibre of the spectator in the role of the bad-tempered, only human being who maintains contact with Frames along its stay in the saw. But, if of doing justice it talks each other, I cannot allow expressing my dissatisfaction with the cartel chosen for the movie, in which Juan José Ballesta appears, protest for the public, although only it acts during the last five minutes of the movie, representing to Frames adolescent. Let's not forget that the real protagonist is the child actor Manuel Ángel Camacho, who waited revelation is nominated to the awards Goya of this year in the category of better actor.
Cristy G. Luxuriant.
Filed file: Movies
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