|Tiempo de silencio|
Theatrical release poster
|Directed by||Vicente Aranda|
|Produced by||Carlos Durán|
|Screenplay by|| Vicente Aranda |
|Based on||Tiempo de Silencio|
by Luis Martín-Santos
|Starring|| Imanol Arias |
|Music by||José Nieto|
|Edited by||Teresa Font|
|Distributed by||Lola Films|
|13 March 1986|
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. Set in the 1940s, in the early days of the Franco’s regime, the plot follows the story of an ambitious doctor who is accused of killing a woman while he tried to save her life after a botched abortion. The film is an intriguing tale of sex, death and alienation with philosophical overtones.
The following is an overview of events in 1986 in film, including the highest-grossing films, award ceremonies and festivals, a list of films released and notable deaths.
Spain, officially the Kingdom of Spain, is a country mostly located in Europe. Its continental European territory is situated on the Iberian Peninsula. Its territory also includes two archipelagoes: the Canary Islands off the coast of Africa, and the Balearic Islands in the Mediterranean Sea. The African enclaves of Ceuta, Melilla, and Peñón de Vélez de la Gomera make Spain the only European country to have a physical border with an African country (Morocco). Several small islands in the Alboran Sea are also part of Spanish territory. The country's mainland is bordered to the south and east by the Mediterranean Sea except for a small land boundary with Gibraltar; to the north and northeast by France, Andorra, and the Bay of Biscay; and to the west and northwest by Portugal and the Atlantic Ocean.
Vicente Aranda Ezquerra was a Spanish film director, screenwriter and producer.
The story is set in Madrid in the late 1940s early 1950s during the first years of Franco’s regime. Pedro Martín, a young ambitious doctor, is studying the effect of cancerous cells on mice, but he has run out of mice in his laboratory, since they do not breed there, and he has no funds to purchase more of these expensive laboratory animals from the United States. Nevertheless, his assistant, Amador, informs him that he gave some of the mice to an old trapper, nicknamed "el Muecas", who lives in precarious conditions in a shanty town outside Madrid, and that this poor man has successfully bred them with the help of the natural heat of his daughters. The incredulous scientist goes to the shanty town to obtain the mice. There, Pedro meets Muecas, Muecas's wife Ricarda and their two daughters Florita and Conchi. With the warmth of the women's breasts, as the flirtatious Florita shows Pedro, the mice are able to reproduce.
Madrid is the capital of Spain and the largest municipality in both the Community of Madrid and Spain as a whole. The city has almost 3.3 million inhabitants and a metropolitan area population of approximately 6.5 million. It is the third-largest city in the European Union (EU), smaller than only London and Berlin, and its monocentric metropolitan area is the third-largest in the EU, smaller only than those of London and Paris. The municipality covers 604.3 km2 (233.3 sq mi).
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 in him. Pedro and his rich friend Matias discuss literature and painting in a café and later they go 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 for 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, Conchi 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, extracts a false confession. Amador makes him wrongly believe 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 Doña 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 interrupting 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 been accused of her daughter's death, tells what has 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 dead.
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.
Manuel María Arias Domínguez better known as Imanol Arias, is a Spanish actor and film director.
Victoria Mérida Rojas, better known as Victoria Abril, is a Spanish film actress and singer. She is possibly best known to international audiences for her performance in the movie ¡Átame! by director Pedro Almodóvar.
Francisco Rabal Valera, better known as Paco Rabal, was a Spanish actor, director, and screenwriter born in Águilas, a small town in the province of Murcia, Spain.
Incest, death and alienation, are the three major themes of the film. Aranda added a literary and philosophical dimension to the screenplay.The film is about government failure; individual loss 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.
Tiempo de Silencio is an accurate representation[ citation needed ] of Spain post civil war period, a denunciation of the reality of Franco's Spain in the 1950s, from which Aranda himself emigrated in 1952, the same period in which the action takes place. The film adheres to an unforgiving neorealist aesthetic.
Francisco Franco Bahamonde was a Spanish general and politician who ruled over Spain as a military dictator from 1939, after the nationalist victory in the Spanish Civil War, until his death in 1975. This period in Spanish history is commonly known as Francoist Spain.
The nightmarish scene of the abortion Pedro performs on the dying Florita famously[ citation needed ] 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 [ citation needed ] transformed Martín 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 novel's title. The film opens with images of caged dogs, bandaged from injuries 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.[ citation needed ]
The final sequence resembles the murder scene in Alfred Hitchcock’s Strangers 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's post-civil war years.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.
The final voice over of Pedro in his laboratory regarding his sense of futility and oppression both underscores the meaning of the title of the film and lends it an air of literariness of the original narrative.Just as Martín Santos's novel portrays a Spain that is backward and repressed, with its intellectuals trapped in a time of silence, so too does the cinematographic adaptation by Vicente Aranda. Aranda's version of the absurd world in which Pedro lives does not depend on the subtle ironies of the literary text, however; instead some scenes elicited overt laughter from the audience.
Tiempo de Silencio was criticized for failing to match the highly regarded novel on which it was based. The novel written by Martín Santos has a labyrinthine fragmented structure and an 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.
Tiempo de Silencio was released on a region 2 DVD on June 19, 2007. The film is in Spanish only. There are no English subtitles. The extras include an interview with director Vicente Aranda and actors Imanol Arias and Juan Echanove.
The Goya Awards are Spain's main national annual film awards.
María Isabel Verdú Rollán, better known as Maribel Verdú is a Spanish actress. She played Luisa in Alfonso Cuarón's 2001 film Y tu mamá también and Mercedes in Guillermo del Toro's 2006 film Pan's Labyrinth. She has also appeared in Lovers (Amantes), Belle Époque, The Blind Sunflowers and Blancanieves.
Tirant lo Blanc is a 2006 historical adventure film directed by Vicente Aranda and starring Casper Zafer, Esther Nubiola and Victoria Abril. The script was written by Aranda based on Tirant lo Blanch, a Valencian language chivalry novel dating to 1490, written by Joanot Martorell. It presents a highly fictionalized alternate history narrative of the events leading to the Fall of Constantinople.
Luis Martín-Santos Ribera was a Spanish psychiatrist and author of Tiempo de Silencio, often cited as one of the most important Spanish novels of the twentieth century.
Lovers is a 1991 Spanish film noir written and directed by Vicente Aranda, starring Victoria Abril, Jorge Sanz and Maribel Verdú. The film brought Aranda to widespread attention in the English-speaking world. It won two Goya Awards and is considered one of the best Spanish films of the 1990s.
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The Bilingual Lover is a 1993 Spanish film, written and directed by Vicente Aranda and adapted from a novel by Juan Marsé. It stars Imanol Arias, Ornella Muti and Loles León. The film is a grotesque drama, with some elements of comedy. Set in Barcelona in the 1980s, El Amante Bilingüe takes an ironic approach to Catalan linguistic policies, nationalism and eroticism with a pattern of double identity that was based on elements from the author's life.
Captain Sánchez’s Crime is a 1985 Spanish drama film, made for TV in 16 mm and directed by Vicente Aranda. It stars Fernando Guillén, Victoria Abril and José Cerro. The film is based on a real crime which occurred in Madrid in 1913.
Fanny Straw Hair is a 1984 crime thriller film, directed by Vicente Aranda and starring Fanny Cottençon and Bruno Cremer. The film, a Spanish and French production, was based on the novel Prótesis, written by Andreu Martin. The plot follows an attractive blonde outcast who devises an elaborate plan to avenge the humiliation she suffered at the hands of a policeman who killed her boyfriend and smashed her teeth with the butt of a gun.
Murder in the Central Committee is a 1982 Spanish thriller film directed by Vicente Aranda. It stars Patxi Andión and Victoria Abril. The plot follows a private detective, an ex-communist and former CIA agent, who travels from Barcelona to Madrid to discover the identity of the assassin of the leader of the Spanish Communist Party who was stabbed during a blackout while presiding over a meeting of the party's Central Committee. The film is a thriller with ironic political overtones.
The Girl with the Golden Panties is a 1980 Spanish film directed by Vicente Aranda. It stars Victoria Abril and Lautaro Murúa.
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El Lute: Run for Your Life is a 1987 Spanish film written and directed by Vicente Aranda, based on the memoirs of Eleuterio Sánchez, "El Lute", a young convicted murderer who became legendary in Spain for his jail escape in the 1960s. It stars Imanol Arias and Victoria Abril. The film was a hit in Spain and made a big star of his leading actor. It was nominated to four Goya Awards and it is considered among the best Spanish films of the 1980s.
El Lute II: Tomorrow I’ll be Free is a 1988 Spanish film written and directed by Vicente Aranda, based on the memoirs of Eleuterio Sánchez, “El Lute”, a delinquent who became notorious in Spain for his jail escapes in the 60's. It stars Imanol Arias, Angel Pardo and Jorge Sanz. The film continues the story of El Lute: camina o revienta.
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