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EL EMBRUJO DE SHANGHAI JUAN MARSE PDF

Galardonada en con el Premio de la Crítica, El embrujo de Shanghai es una estremecedora fábula sobre los sueños y las derrotas de niños y adultos. Editions for El embrujo de Shanghai: (Paperback published in ), (Paperback published in ), (Paperback. El embrujo de Shanghai. Front Cover. Juan Marsé. Debolsillo, – Fiction – pages Bibliographic information. QR code for El embrujo de Shanghai.

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The Shanghai Sjanghai Especially as the cast could hardly be better. You will not be disappointed: He has a good eye and a steady hand for telling his stories, however varied they may be.

Added to that, Ariadna Gil, who must by now be seriously considered as the most gifted actress in present-day Spanish juab, takes on a double role in this film with perfect adaptability. Antonio Resines plays a very sober and convincing role.

Full marks to Fernando Tielve as the fourteen year old through whose eyes the story is told; great playing by this youngster and captures the camera exceedingly well. Aida Folch dr the sick fifteen year old, suffering tuberculosis, was mostly ell good with just a couple of weak points, but on the whole her performance is not marred. Hope to see more of these youngsters as they grow up However, when Ariadna Gil is in a film it becomes a little difficult objectively focussing on anyone or anything else.

Her tour de force is, perhaps, most notable in Ricardo Franco’s film. Really worthy of mention are the excellent studio-built scenes, lending real authenticity to the lower class suburbs of Barcelona inin this case Gracia and its Plaza de Rovira, complete with a number 39 period-piece tram, and the various street scenes of Shanghai.

This is a good piece, well away from the run of the mill, painstakingly knitting together reality and fantasy, fusing them into one, and thus turns out satisfying intellectually as well as visually.

Definitely well above a seven out of ten on my scale. Was this review helpful? Sign in to vote. LeRoyMarko 4 March Fernando Trueba knows how to tell a story. And more importantly for cinema lovers, he also knows how to make it visually compelling. The story might be a bit twisted, you might have a bit of difficulty to follow exactly what’s going on, but the movie is still worth watching.

The cast is superb. Ariadna Gil is sublime in her role. Both Fernando Tielve and Aida Folch are to be remembered, because I’m sure we’ll see more of them in the future. Another thing I liked about this movie is the photography. Trueba makes good use of black and white and keeps shifting the screen format from one scene to the other.

And I really liked the ending. Seen at home, in Toronto, on March 4th, This is an enjoyable flick based on Juan Marse’s novelbeing set during and post Spanish Civil War.

A very pleasant drama plenty of emotionsensitive scenespolitical intrigue about espionagetreason and mayhem. There in the neighbourhood of Barcelonaan old freedom-fighter pits himself against his own recordsa beautiful cinema-ticket woman Ariadna Gil takes to the streets at night and an old man named Captain Blay Fernando Fernan Gomez dedicates himself to tell strange tales.

As Kim must go to Shanghaithere he meets a gorgeous femme fatal Ariadna Gil with oriental eyes. Soon some problems start to arise when appears Forcat Eduard Fernandez who brings news about Kim. Drama in which reality and fiction become fused in an embrace. It deals with a historical backgroundincluding a coming-of-age taleintrigue and thrills ; adding culture and politics.

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An agreeable story plenty of intense dramaamusing momentsmoving feelings and tragic finale. It is a thought-provokingwistful drama, easy to watchand easier to love. It is as beautifully filmed as it is written and acted.

Juan Marsé: El embrujo de Shanghai (Shanghai Nights)

This is one of those rare gems that does not stray from its purpose – to be a celebration of love and romance – and shanghsi tale of two teens during a hectic timebeing splendidly recreated. This is an interesting story that blends tragic elementsadventurecontinuous flashbacks recreating an evocative Shanghai with breathtaking production design and many other things.

Filmed in his usual formal and luxurious stylewithout leaving a trace the brooding themesin terms of entertainment and narrative excitement.

Unforgettable Fernando Fernan Gomez as old anarchist who lives locked-up and juam fantastic stories. Top-notch Ariadna Gilshe parades sexily at her best and more relaxed and enticing than ever. The hit of the show is undoubtedly for the fetching Ariadna who gives one of the best screen acting.

Evocative as well as atmospheric musical score by Antoine DuhamelFernando Truebausual. In additiona spotless pictorial cinematography by Jose Luis Lopez Linares and a willingnessalmost perfect of the elements mrse each shotevery sequenceevery space ; being filmed in Barcelona.

The picture lavishly produced by great producer Andres Vicente Gomez and Cristina Huete results entertaining and well worth your timethough sometimes turns out to be slow moving. The film is deepbut never somberno small accomplishment from Fernando Trueba and his team. This intelligentdelightful motion picture was well directed by Fernando Trueba. This is something in the line of what Spanish cinema has been exploring in later years.

Juan Marsé: El embrujo de Shanghai (Shanghai Nights) – The Modern Novel

This means i’m talking about a film with a well thought construction, in terms of narrative, inner references and symbolism. I’ve seen Trueba’s Belle Epoque before this one, and i don’t know the arc his career took the 10 years between that film and this one, but i wonder, even because of other Spanish recent creations, how deep is the influence of Medem’s creations in the Spanish films. His first long form was Vacas inprecisely the year of Belle Epoque, which was completely free of many of the concerns i watched on this film, so i’m inclined to trust that Medem is embfujo his deserved way in influencing Spanish creators and not only Spanish.

So here we have a narrative basis based on the already seen film within a film. In this case it’s almost literally a film since a story is told parallel to the main action, and we come to find out that story is not true, or at least, it may be displaced and distorted.

This canonic structure exists exactly xhanghai this in Juam Kiss of the Spider Woman, so that one came to me as a direct influence to this one. But it is rl to understand how the invented parallel reality here leaks perhaps to the main storyline. Forcat wears an oriental clothing which we see the girl’s father wear in the invented story.

May the film Forcat tells talk shanghaj the past of the relation of the girl’s parents? Now take shanghau boy. In the beginning he claims he can’t draw by heart, but than we see he makes his most important drawings sshanghai heart the captain’s and the girl’s portraits. He draws the recently dead captain in a hurry, because he doesn’t want the image to fade away, and he grabs the world by drawing it.

The same way he destroys the girl’s portrait to try and forget it. He amrse the world he wants to see, he bends the world through drawing, so he invents the dress, and imagines wl Lolita naked. We also have the old captain, who also invents the world he lives in, through reclusion. We see him the first time coming out of a closet, he creates his own character for himself, with spectacles that colour his world i direct his look.

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He is Quijote in the way he defines his enemies, and creates his goals. He introduces the boy to our Lolita. The girl is closed. She understands the world through the stories she is told.

Her world is what goes on in her bedroom.

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She has defined channels, and is clearly influenced by the “shanghai link” which is stronger because se characters embrijo her life make the effort to link her to it. She lives on the films she is told. So in her case, films influence her life, more than her life influences the films.

When Lolita’s innocence is broken down, she ends selling tickets in a cinema theatre, and doesn’t look at the client, the magic is gone.

A last notice to the fact that the girl’s father made a living out of distributing cinema projectors, her mother stills lives on exploring a theatre, but the film within the film shows her father falling asleep as he watches a film. We have another ambiguous film, in finding out what is the true version in the death of Lolita’s lover. The boy ends the film in a nearly empty film room, crying over the innocence he also lost, and accepting the film that comes to him.

The only attraction with this film is Fernando Fernan Gomez. We might like, or might not like the film, but Fernan Gomez is always an interesting face to see in the Spanish Cinema.

Fernando Trueba displays a heavy hand in this film that tries to evoke the era in which the action happens.

He decided to add a film within the film as is the Chinese juwn and white story that is told to a convalescing girl with tuberculosis by a shady character that one day shanghxi out of nowhere to stay in her mother’s apartment.

The black and white film is a distraction that doesn’t add anything to the story and emhrujo things in limbo. Why didn’t Trueba concentrate on the main characters? Why insert the Chinese story that is supposed to be a story that has nothing to do with the other one.? Mysteries of the Spanish cinema of today!

The Anita of Ariadna Gil is white trash. She’s the object of desire among the men of the neighborhood.

As the Chinese siren of the second story she’s no Anna Sten exactly. Antonio Resines looks out of place as the wrong guy in the wrong place. Rosa Maria Sarda has nothing to do and better yet, a star like Jorge Sanz has only two scenes and frankly it doesn’t add to the film at all. Trueba take us back to a Belle Epoque, please! No Spell Here Chrysanthepop 28 August Trueba doesn’t seem to make up his mind with ‘El Embrujo de Shanghai’.

Within the main story there’s another one, a Chinese story that has nothing to do with the rest of the events even though it’s well shot and reminds one of the days of film noir. In the last half hour, when the last portion of the Chinese story ends, the main story takes a drastic turn that feels forced and out of sync.

The writing lacks depth and development, as a result of which the performances suffer. Ariadna Gil’s role is a caricature alcoholic mom.