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| Fernando Fernán Gómez | Fernando |
| Teresa Gimpera | Teresa |
| Ana Torrent | Ana |
| Isabel Telleria | Isabel |
| Miguel Picazo | Doctor |
| Linda C. Ehrlich | Interviewee |
| Juan Margallo | The Fugitive |
| Hideyuki Miyaoka | Interviewee |
| Lally Soldavilla | Milagro |
| Jose Villasante | The Monster |
| Victor Erice | Director, Screenwriter |
| Pablo Gonzalez del Amo | Editor |
| Adolfo Cofino | Art Director |
| Luis Cuadrado | Cinematographer |
| Luis de Pablo | Score Composer |
| Juan Margallo | Camera Operator |
| Elias Querejeta | Producer |
| Francisco J. Querejeta | Screenwriter |
| Angel Fernandez Santos | Screenwriter |
| Jose Villasante | Camera Operator |
jessticulations
Posted October 1, 2010
Víctor Erice's masterpiece of Spanish cinema, El espíritu de la colmena (The Spirit of the Beehive), tells a simple and beautiful tale, but is also wholly allegorical in regards to the political and social conditions of Spain. Made in 1973 toward the end of Franco's run, it takes place in a small village in 1940, immediately following the Spanish Civil War and Franco's victory. The film presumably uses many plot devices as code for its secret political symbolism, and one of them is the fascinating use of cinema within the film. Through this meta-commentary, the film brings new attention to the referential nature of film and what this means for the larger, political picture. Not only was The Spirit of the Beehive politically subversive, but it was also aesthetically innovative in many influential ways.
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Posted September 11, 2010
No text was provided for this review.
Overview