‘The good lyrics’: Celia Rico Bold the postwar invisible calligraphy | Culture | EUROtoday

In The spirit of the hiveVíctor Erice portrayed the defeated warfare locked in his hive, shadows marked by silence and vacuum. His actions have been minimal, routines of the absence that, within the case of Teresa, the mom of the women, was mounted within the good letter of a letter to an unknown recipient for the spectator. “Except for the walls, there is just anything left of the house you met …”, wrote Teresa in that very robust letter with out future.

More than half a century later, the Sevillian director Celia Rico Clavellino collects the witness of the invisible calligraphy of the defeated civil warfare in The good lyricsadaptation of the homonymous novel by Rafel Chirbes that Rico Borda; of the simplicity and emotion of his script to his cautious course of actors. Rico begins with an appointment of the novel about good lyrics because the “Lies Costume” after which search for a spot, that of cinema. If the novel – printed within the nineties and whose finish was modified in later editions by the writer himself – travels from the Civil War to the start of Franco’s creating, Rico’s movie is postponed within the postwar interval, to the core of humiliation and repression, from the place it’s evoked with out naming the previous and intuits the longer term and its new defeats.

As was the case in its earlier two movies (the notable Journey to a mom’s room y The little loves) Rico leaves area to his interpreters in an intimate staging across the absences and deficiencies of the home, these 4 partitions in which there’s nothing left. Loreto Mauleón is Ana, a central character of this desolate have a look at a damaged household of a Valencian folks and the best way to face each to survival. Everything she does (stitching, cooking, washing, ironing, writing letters) shapes the film and their lives lifeless. No one talks about distress, however distress is current each time they sit on the desk, within the sorbids of the soup of a home that ran out of music and speechless.

If Ana’s eyes and fingers are the axis of The good lyricsthe background historical past is that of her husband, Tomás, and her brother -in -law Antonio. Two defeated brothers attempting to put themselves in a brand new hostile and impoverished actuality. Interpreted by Roger Casamajor (Tomás) and Enric Auquer (Antonio) none will likely be precisely what it appears at first, as a result of none is aware of precisely who it’s till survival places their identities into play. The sequelae of warfare, the shadow of despair and alcohol, the shortcoming to really feel once more or the bodily punishment of exhausting work intersect within the magnetic triangle that make up Mauleón, Casamajor and Auquer, three characters whose readings and nuances will likely be resolved, particularly within the thrilling ultimate sequences between Casamajor and Mauleón.

The character who breaks the obvious household union is Isabel (Ana Rujas), a younger lady who arrives from London to do not forget that life remains to be. With its austere and practical model, music doesn’t sound in The good lyrics Until nearly half of the movie, when the arrival of Isabel is introduced and, in an ellipsis of a few years, we see a melancholic ana within the cinema watching Verbenaby Edgar Neville, and listening Ay, Mi Madrid. With the arrival of Isabel additionally arrives radio, couplets and tangos, and a horizon of progress that suggests a brand new type of humiliation and silence. The enormous remorse that Celia Rico transmits when Ana and Tomás dance Love and stayby Antonio Machín, marks a ultimate stretch whose ache not provides truce and during which, as soon as once more, the girl of an defeated seems to be for dignity and luxury in a ghost letter with out future.