Eye Talk
Wednesday, July 7th, 2010
The Secret In Their Eyes
El Secreto de sus ojos
(Spain-Argentina) An Alta Classics (Spain) Released a Tornasol (Spain) / Haddock, 100 Bares, El Secreto de Sus Ojos (Argentina) production with participation of TVE, Canal Plus. (International sales: Latido Films, Madrid.) Produced by Gerardo Herrero, Mariela Besuievsky, Juan Jose Campanella. Executive producer, Vanessa Regon. Directed, written, edited by Juan Jose Campanella, based on the novel Eduardo Sachers.
With: Ricardo Darin, Soledad Villamil, Guillermo Francella, Pablo Rago, Javier Godino, Jose Luis Gioia.
By Jonathan HOLLAND
Source: http://www.variety.com/index.asp?layout=print_review&reviewid=VE1117941041&categoryid=2863
A deeply rewarding to survival the time when the cinema remains casual tried to be magical, "The secrets in their eyes" is simply mesmerizing. Although it packs two generations, covering the stories of love, a noirish thriller, a comedy delicious, a political critic and did much food for thought in more than two hours of compelling, adult entertainment, the film is even more than the sum of its parts. Repping a change of direction of Juan Jose Campanella, including "The Son of the Bride" also played Ricardo Darin, this is a very dark, complex piece of work, as well as the best film of Campanella.
In Argentina, the press in mid-August has met with little critical and commercial acclaim, "Eyes" is likely to shine even in a series of offshore jurisdictions.
Recently retired Benjamin (Darin), a former employee Criminal Court, decided write a novel based on a rape and murder that took place 20 years ago – a crime that he believes has never been found. He shared his intentions with Judge Irene (Soledad Villamil), for which he has long carried a torch and secret – for reasons that soon become obvious – do not know the idea.
Flashbacks game just before the late 70s the arrival of the military junta in Argentina show already in the grip of judicial corruption. (Pic is vague on details, but sufficient supplies AUDS political context to make the necessary connections.) The death was the young wife of Morales (Pablo Rago), two immigrant workers arrested for the crime has clearly been beaten by confessing.
Roused to action, and aided by his colleague drunk Barfly Sandoval (Argentina Guillermo Francella actor), Benjamin began to identify the real PERP, their clumsiness generate a Case wonderful comic along the path.
This is typical of fusion suppression peak of suspense and romance that Benjamin is advised of the possibility Gomez (Javier Godino) could be the killer, with photographs in which Gomez is watching the victim. "Eyes speak," says a character, and indeed, eyes function in the lovely film that both vehicles passion and observation instruments.
Tracking down Godino is fraught with difficulties. Benjamin is determined that the case was officially reopened, and his struggle to make a barbed attack representative of how the power employs the bureaucracy to hide the path to justice. second half of ICP slow to explore the actual consequences of these comings and goings.
Helmer helped by mounting fluid, "Secret" shuttles smoothly between past and present occupied full satisfactorily enlarged Take, for example, when Benjamin and Irene flirt discuss the transformative power of memory, a key theme in terms of Argentine history in the 20th century. The pace here is expertly judged, moving between scenes of suspense and delicate dialogue pin-drop, and traffic Thespis generate real chemistry taking whatever time they need – which is never a moment too long.
Powerfully quiet, Darin explores the psychological nuances of a man moral, having been beaten by the system, is now the life denied her execution; rich perf, which includes two versions youth and older, suggests that we are seeing the arc of a lifetime. Villamil is the beautiful Irene statue insecure in his veneer of professional power, while Francella, although responsible for many laughs, touching on the solitude brought under the comedy. Rago Morales is a bit limited In its role as the victim in distress, but it is allowed to flourish in a scene hauntingly intense later.
Visually, the film is simple, with repeated tight close-ups of faces, by title, providing that the stylistic (these plans also show the composition fine work in the aging of the characters). But the room is found for a memorable tour de force sequence in a packed football stadium, the camera rocking and dipping as it goes in search of a unique figure among the thousands of people.
Federico Jusid tends to score just to the intimate and lyrical, but with occasional peaks of majestic. Print a screening of the journal includes a scene of full frontal nudity.
Camera (Color, widescreen), Felix Monti, music, Federico Jusid, art director, Marcelo Pont Verges; sound (Dolby), Jose L. Diaz Ouzande. Reviewed at room Alta Film screening, Madrid, September 2, 2009. (In Toronto Film Festival – Special Presentations.) Duration: 127 min.
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