The secret of its eyes

On Friday, October 16th, 2009 at 12:20

There can be done two types of cinematographic criticism (I like saying more comment or analysis, to avoid the contemptuous tone that it has that). One of them would be the one that does not reveal the ending of the movie in its history. And the different one is that study that is realized analyzing all the particulars of the movie without being important to spoil the end. Y el otro es aquel estudio que se realiza analizando todos los pormenores del film sin importar destripar el final.

I say already to you from here that in this web it will always be the first model chosen out of consideration for the possible spectators. Other considered it to be more interesting but perhaps it is more own for a good conference, cinematic study or a putting together of several participants.

Synopsis. The secret of its eyes is based on the novel question of its eyes of the Argentine writer Eduardo Sacheri. He narrates the vicissitudes of Benjamín Espósito (Ricardo Darín) who finishes of retiring after the whole life to be employed at a Penal Court. Its real experiences serve to him to novelize the events in a book that occupies its free time. The above mentioned events center on a murder happened in Buenos Aires in 1974. Espósito supposes that the history that narrates speech of the past, but its search illuminates in an emaciated way its own life and its present, and puts it opposite to an affectionate quandary that obsesses it long ago.está basada en la novela La pregunta de sus ojos del escritor argentino Eduardo Sacheri. Narra las vicisitudes de Benjamín Espósito (Ricardo Darín) que acaba de jubilarse después de trabajar toda la vida en un Juzgado Penal. Sus experiencias vividas le sirven para novelar los acontecimientos en un libro que le ocupa su tiempo libre. Dichos acontecimientos se centran en un asesinato ocurrido en Buenos Aires en 1974. Espósito supone que la historia que narra habla del pasado, pero su búsqueda ilumina de un modo descarnado su propia vida y su presente, y lo pone frente a un dilema amoroso que lo obsesiona desde hace mucho tiempo.

Technically the movie is realized of magisterial form with a use of very original framings of the camera as for the position of the same one and intimists for its approach, with primerísimos forefronts. The script is very worn out, with very good dialogues, circumstance that we already saw in previous works like the successful one The son of the fiancée. In this movie most that the dialogues has an important weight the silences, the looks, the not verbalizado, it could not be otherwise when of a secret it talks each other.. En este film más que los diálogos tiene un peso importante los silencios, las miradas, lo no verbalizado, no podía ser de otra manera cuando de un secreto se trata.

The actors' couple protagonist is the formed one by Ricardo Darín (Benjamín Espósito) and Soledad Villamil (Irene Hastings). They prove to be excellent. But the figure of a secondary actor often eats the leading role to them. Guillermo Francella (Sandoval) is a boozer full of humanity. Pero la figura de un actor secundario muchas veces les come el protagonismo. Es Guillermo Francella (Sandoval) un borrachín lleno de humanidad.

tension The secret of its eyes is a hard and tender history, a love story and hate, a history relied on with parallel scenes of the past and of the present of magisterial form by Juan José Campanella. The director handles the ambiguity learnedly in some passages to approach this secret. So much I am right they do not exempt it from any defect. I did not like at all the excessive movement of the camera in the scene of the stadium and neither the final resolution (slightly forced) is brilliant. But there are less snags for a big production. And, finally, I would like standing out two big moments, two big scenes. One of them gathers the tense moment where three of the protagonists turn out to be shut up in the elevator of the Department of Well-being and Public health. Youngest child and Irene are present pulled down at the demonstration of power that has the prisoner Isidoro Gómez (Javier Godino) set free. And other one is rather a still, one of the final scenes in the one that shows us Irene's big and wonderful eyes as title. Tanto acierto no lo eximen de algún defecto. No me gustó nada el excesivo movimiento de la cámara en la escena del estadio y tampoco es brillante la resolución final (algo forzada). Pero son pegas menores para una gran producción. Y, por último, me gustaría destacar dos grandes momentos, dos grandes escenas. Una de ellas recoge el momento tenso donde tres de los protagonistas se ven encerrados en el ascensor del Ministerio de Bienestar y Salud Pública. Benjamín e Irene asisten aterrados a la demostración de poder que tiene el preso Isidoro Gómez (Javier Godino) puesto en libertad. Y la otra es más bien un fotograma, una de las escenas finales en la que nos muestra los grandes y maravillosos ojos de Irene a modo de título.