Tiempo de silencio
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| Tiempo de silencio | |
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| Directed by | Vicente Aranda |
| Produced by | Carlos Durán |
| Written by | Vicente Aranda Antonio Rabinad |
| Starring | Imanol Arias Victoria Abril Juan Echanove Francisco Rabal |
| Music by | José Nieto |
| Cinematography | Juan Amoros |
| Editing by | Teresa Font |
| Distributed by | Lola Films |
| Release date(s) |  March 13, 1986 |
| Running time | 111 min. |
| Country | Spain |
| Language | Spanish |
| IMDb profile | |
Tiempo de Silencio (English: Time of Silence) is a 1986 Spanish film directed by Vicente Aranda adapted from a well-regarded novel written by Luis Martín Santos. It stars Imanol Arias, Victoria Abril and Francisco Rabal. The film is an intriguing tale of sex, death and alienation with philosophical overtones.
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[edit] Synopsis
The story is set in Madrid in the late 1940’s early 1950's during the first years of Franco’s regime. Pedro Martín, a young and ambitious doctor is studying the effect of cancerous cells on mice, but he has problems getting the particular American breed of mice that he needs for his experiments because the rodents do not reproduce in the laboratory. His assistant, Amador, tells him that he knows a place where they can get more of them. This search takes the doctor to a shantytown in the outskirts of Madrid. There, Pedro meets an old trapper, nicknamed “el Muecas”, who lives in precarious conditions with his wife Ricarda and his two daughters Florita and Pilar. With the warmth of the women’s breasts, the male mice are stimulated and they are able to reproduce.
Pedro himself lives in a modest boarding house run by a military widow and her daughter Dora, who also has a vivacious daughter, Dorita. The owner of the boarding house tries to encourage the doctor to fall in love with his granddaughter, Dorita, so that his medical career may release them all from a life of squalor and penury. During her birthday reunion, Dorita clearly shows Pedro that she is interested on him. The doctor, accompanied by his rich friend Matias, goes out for a night of heavy partying in a house of prostitution in which Matias gets involves with a prostitute that closely resembles his own mother. Returning to his boarding house, Pedro goes to Dorita’s bed. He excuses himself of being drunk, but she welcomes his advanced and they make love, starting a relationship.
Pedro is awakened at dawn by Muecas who needs his help as a doctor and begs him to save the life of his daughter, Florita, who is severely hemorrhaging after a botched abortion. Pedro tries to do what he can to save the girl’s life, but she dies in spite of his efforts. With the horrific death of her sister, Pilar reveals that Muecas was the father of the dead child in an incestuous relationship with his own daughter. Cartucho, a low life tough guy, boyfriend of the butchered Florita, is jealous of the doctor and after talking to Amador, he wrongly believes that Pedro is guilty of having aborted the child and killed the mother. Later that day, Pedro is sought by the local police. Dorita warns him and Pedro hides in the local brothel run by Dona Luisa. Meanwhile, Matias begs Amador to tell the police the truth of Pedro's innocence, but Amador refuses to cooperate.
The police finally apprehend Pedro, who surprisingly, confesses rather than admit the truth because of the absurdity of the situation. Ricarda, Florita's mother, follows the remains of her deceased daughter to the place where the autopsy is performed. She can not calm down and is arrested for irrupting the medical examiners. Meanwhile Pedro's girlfriend, Dorita and Matias try to help him using Matias's influences in order to set Pedro free, but they do not succeed. However, in the commissary, Ricarda, realizing that the doctor has wrongly accused of her daughter death, tells what have happened. Her testimony saves the doctor from prison. To celebrate his freedom, Pedro and Dorita go to a fair. They have been followed by Cartucho, who jealously watches Pedro dance with Dorita. Still believing that Pedro is guilty of Florita's death, Cartucho takes advantage of a moment in which Pedro is away buying some sweets and stabs Dorita. When Pedro returns just a moment later, Dorita is already death.
[edit] Cast
The role of Dorita was significantly expanded from the novel to take advantage of Victoria Abril, marketability as an actress, to add explicit sex scenes and to contrast the passivity of Pedro's character with Dorita vivacity.
- Imanol Arias ... Pedro
- Victoria Abril ... Dorita
- Francisco Rabal ... Muecas
- Juan Echanove ...Matias
- Charo López ... Charo/ Matias’ mother
- Joaquín Hinojosa... Cartucho
- Francisco Agora ... Amador
- Diana Peñalver ... Florita
- Blanca Apilánez ...Pilar
- Enriqueta Claver... Luisa
[edit] Themes
Sex, death and alienation, are the three major themes of the film. Aranda added a literary and philosophical dimension to the screenplay.[1] The film is about government failure; individual lost of responsibility, and urban poverty. The story is framed in the post civil war years under the shadow of Franco’s regime and the yearning for freedom and enlightenment.[1]
[edit] Analysis
Tiempo de Silencio is an accurate representation of Spain post civil war period, a denunciation of the reality of Franco’s Spain in the 1950, from which Aranda himself emigrated in 1952, the same period in which the action takes place. The film adheres to an unforgiving neorealist aesthetic.
The nightmarish scene of the abortion Pedro performs on the dying Florita, famously includes the chilling sound of the scalpel scraping her womb. The intrusive shots at the autopsy are extremely harsh, in keeping with the explicit portrayal of sex and violence that characterizes Aranda’s filmography.
Aranda shrewdly transformed Martins Santos’s linguistically suggestive time of ‘silence” into a visually expressive time of ‘entrapment”; furthermore the almost complete absence of music on the soundtrack has been more literally related to the novels title. The film opens with images of caged dogs, bandaged from injures sustained during experiments in the laboratory. The recurrent images of entrapment is not just a playful prefiguration of Pedro’s literal imprisonment, but a sober portrayal of Francoist Spain as a figurative society of imprisonment.
The final sequence resembles the murder scene in Alfred Hitchcock’s Stangers on a Train (1951) as Cartucho stalks his victim, and like Hitchcock, points to the incongruity between the jaunty fairground music and the brutal murder.
The film unlike the novel that was based upon, brings out the oppressive atmosphere of Spain post- civil war years.[1] When Spain was seeking enlightenment and freedom but was strangled in the vortex of darkness, ignorance and day to day survival. There is no let up to the pessimism. Aranda's work is bleak, ugly, beautiful; and unrelenting. [1]
[edit] Reception
Tiempo de Silencio was criticized for failing to match the highly regarded novel on which it was based. The novel, written by Martin Santos, has a labyrinthine fragmented structure and ironic narrator. It has been described as "a novel written by an intellectual, about intellectuals and intended to be read by intellectuals". However, there is general recognition in contemporary reviews and subsequent scholarly criticism that Tiempo de Silencio is one of the most artistically successful literary adaptations of the 1980s in Spain’s filmography.
[edit] DVD release
Tiempo de Silencio was released on a region 2 DVD on June 19, 2007. The film is in Spanish only. There are not English subtitles. The extras include an interview with director Vicente Aranda and actors Imanol Arias and Juan Echanove.
[edit] Notes
[edit] Bibliography
- Cánovás Belchí, Joaquín (ed.), Varios Autores,: Miradas sobre el cine de Vicente Aranda, Murcia: Universidad de Murcia, 2000.P. Madrid
- Colmena, Enrique: Vicente Aranda, Cátedra, Madrid, 1986, ISBN 8437614317
- D’Lugo, Marvin: Guide to the Cinema of Spain, Greenwood Press,1997, ISBN 0313294747
- Faulkner, Sally: Literary Adaptations in Spanish Cinema, Tamesis Books, 2004, ISBN 1855660989
- Schwartz, Ronald, The Great Spanish Films: 1950- 1990,Scarecrow Press, London, 1991, ISBN 0-8108-2488-4
[edit] External links
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