Often considered alongside Luis Bunuel as one of the most important and influential Spanish film directors of the 20th century, Luis Garcia Berlanga (1921-2010) and his work is still being discovered in the U.S. Bienvenido, Mister Marshall! (Welcome, Mr. Marshall, 1953), Berlanga’s post-WW2 satire of the European Recovery Plan aka the Marshall Plan, was the first of his films to receive wide distribution at art houses in America and went on to win the International Prize for Best Comedy Film at Cannes. Placido (1961), a black farce in which a homeless man is invited to a Christmas Eve dinner sponsored by a cookware corporation, was nominated for a Best Foreign Language Film Oscar. And El Verdugo (The Executioner, 1963) might be his most famous triumph with Nino Manfredi as an undertaker who is pressured into taking over his father-in-law’s profession as an executioner. The Criterion Collection released a special edition of it on Blu-ray and DVD in 2016, which helped introduce Berlanga’s satiric masterwork to new audiences. Less well known today but praised by critics during its original release in 1956 is Calabuch aka The Rocket from Calabuch, a seemingly gentle but subversive satire about life in a rustic seaside village which is disrupted by the arrival of an amiable but mysterious stranger.
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Vittorio De Seta’s L’Invitata
Road movies might seem like a home grown American film genre with such famous examples as Bob Rafelson’s Five Easy Pieces (1970) and Monte Hellman’s Two-Lane Blacktop (1971) but there have also been plenty of influential representatives from abroad such as Henri-Georges Clouzot’s The Wages of Fear (1953) and Wim Wenders’ Kings of the Road (1976). The latter film, in particular, takes a much more introspective and observational approach to character and narrative and such is the case with Vittorio De Seta’s little seen and almost forgotten 1969 feature, L’Invitata (aka The Uninvited). Continue reading
Polyurethane Companion

Michel Piccoli and his polyurethane companion in Luis Garcia Berlanga’s Life Size (Grandeur Nature, 1974)
The topic of men preferring lifelike dolls or mannequins to real women is nothing new in cinema and has been treated as poignant character study (Lars and the Real Girl, 2007), rom-com fantasy (Mannequin, 1987) and bleak psychological drama (The Doll aka Vaxdockan, 1962) to mention just a few examples of the different paths taken. Luis Garcia Berlanga’s Life Size (French title: Grandeur nature, 1974) takes a more ambiguous approach to its tale of a successful dentist and his new obsession and could be interpreted as a critique of misogyny, an attack on bourgeois values or a dark, perversely amusing character study. Continue reading