Tag Archives: federico luppi

The Devil’s Backbone – Review

3 Oct

When I think of some of the best film makers working today, one of my go to names will always be Guillermo del Toro. At his most personal, his stories delve into the darkest of fantasies and bring them to life using real world consequences. We see this with films like Pan’s Labyrinth and Crimson Peak. On the flip side, del Toro can create spectacles for the big screen with a vision completely different from any other big budget film maker. Think of the two Hellboy films and Pacific Rim. With it being the beginning of that wonderful season of Halloween, I thought it would be a great time to check out one of del Toro’s most praised ghost stories, The Devil’s Backbone, from 2001. He’s stated that this film is a sort of cousin to Pan’s Labyrinth and it’s clear why. This is a sombre tale of war destroying people’s lives, while also offering a spooky ghost story and a message of strength that bursts through the sadness to offer hope. To put it simply, The Devil’s Backbone should be considered a modern classic.

Carlos (Fernando Tielve), an orphan who’s father was recently killed in the Spanish Civil War, is taken into an orphanage the wise Dr. Casares (Federico Luppi) and his fellow administrator and teacher for the kids, Carmen (Marisa Paredes). Upon arrive there, Carlos finds something very odd about the place, and it’s a something that’s quite obvious. There’s a bomb in the middle of the courtyard that landed and got lodged in the ground, but never detonated. He also hears stories from the kids there about an orphan named Santi (Junio Valverde), who mysteriously went missing when the bomb landed. One night, Carlos is out looking for water and comes across what seems to be the ghost of Santi who warns Carlos that many people are about to die. This apparition keeps appearing to Carlos, and it doesn’t take long for the other kids to believe him. Meanwhile, the groundskeeper, Jacinto (Eduardo Noriega), with the help of his friends begin scheming to rob the safe that Casares and Carmen have hidden in one of the buildings. As tensions rise between all parties, Santi’s warning of violence and death becomes an inevitability.

There’s so much to love with The Devil’s Backbone, it’s hard to find a place to start. Let’s go with the story. Guillermo del Toro is a master storyteller, and he works really well with telling these creepy tales through the innocent eyes of children. We see what Carlos sees and we know only what Carlos knows. There are only a few scenes where we are privileged enough to look behind the closed doors of the adults at this orphanage and see an establishment that is haunted by both the ghost of a young boy, but also crime, deception, and lust. While being a horror story and a drama and an allegory for war, The Devil’s Backbone has a strong mystery at its core. What’s the deal with the bomb in the middle of the courtyard? How did Santi really die? What does the warning of violence and death that Santi give mean? There’s so many questions asked during the slow burn of the plot that it had me riveted. I had to keep watching to find out more, and the payoff is quite literally explosive.

One of the most fun reasons to watch one of del Toro’s movies is his blending of genres and the fantastical with the brutal realities of life. The Devil’s Backbone is definitely a traditional ghost story at its core. A boy goes to an orphanage during a time of violence and is haunted by a ghost of one of its former residents. That may have been enough to support the movie, but it goes the extra mile. The humans in this movie often become creepier than the little ghost boy. The talks of the war and brutality that is happening in Spain is an ever present discussion by the adults in this movie that the kids can’t seem to comprehend. Jacinto also provides most of the actual horror in this film. He’s conniving and unpredictable and a true sociopath if I’ve ever seen one. Who’s stuck in the middle of all this? The children. They’re caught between the horrors of the real world and the people who inhabit it on one side and on the other the manifestation of the consequences of their actions. It’s not horror in the traditional sense, but it’s horror nonetheless.

Amidst all this terror is a film that’s shot beautifully. There’s something about Guillermo del Toro’s eye for things that isn’t extravagant, but it’s enough to hold your attention. It’s hard to explain, but he just has a way of showing just what needs to be shown in the exact way it needs to be. Can I get any more vague than that? Probably. Just give me the chance. The design of the ghost is also great, and it’s clear that he puts a lot of effort into creating his different specters and creatures for his movies because they always seem to stand out in some way. Santi is one of his greatest creations. He’s just a pale ghost that can be seen through, but what really makes it special is the trail of blood that comes out of his head and slithers through the air. Try to get that image out of your head. I dare you.

What else more can I say about The Devil’s Backbone? I absolutely loved this movie. It’s a haunting tale of ghosts, violence, and war but ultimately ends with a message of strength and bravery even for the most innocent of people. This is a film that masterfully blends gothic horror and the drama of the real world with the victims here being children. Sounds pretty heavy, right? It is and I respect del Toro for making a movie like this. He truly is a master and this is one of his greatest creations.

Final Grade: A+

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Cronos – Review

18 Nov

Guillermo del Toro is the man. That’s been firmly established with Pan’s Labyrinth, the Hellboy movies, and Pacific Rim. There hasn’t been a film that del Toro made that I really haven’t liked, so I was more than ready to check out his debut film from 1993, Cronos. This is a vampire story with a kind of twist to the genre that only a film maker like del Toro could make, in fact I’m sure that he’s the only one who can make something like this. It’s an amazing debut film.

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Jesús Gris (Federico Luppi) is an antique’s dealer who mildly spends his days in his shop with his granddaughter who seems to never leave his side, Aurora (Tamara Shanath). Things change when he finds a mysterious device inside a statue of an archangel that latches itself to Gris’ hand so hard that it draws blood. This begins changing Gris into a much more invigorated man who has acquired an unquenchable thirst for blood. This draws the attention of the dying businessman Dieter de la Guardia (Claudio Brook) who sends his nephew Angel (Ron Perlman) to retrieve the device, but Jesús isn’t willing to give it up, especially after discovering what it really does.

Let me get this out of the way, if you’ve seen any other movie by Guillermo del Toro, you know pretty much what this movie is going to feel like. Think of Pan’s Labyrinth and how it mixed reality with fantasy in a way where it felt like a fairy tale is coming to life. That’s what Cronos ultimately is as well: a fairy tale. It’s also not a very overt fairy tale, which really makes the movie feel special. The word “vampire” is never even used in the movie once. It’s simply alluded to through the images that we see and the prior knowledge that we already have about vampires. It also recreates the myth of the vampire through the alchemical device inhabited by an insect.

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So, since there’s vampires in the story of Cronos, it’s pretty fair to label it as a horror movie. There are some pretty icky gore effects with the device digging into skin or flesh being peeled off of the body. Those scenes work very effectively at the body horror that del Toro does very well. Still, this is more than a horror movie because there is so much more to it than that. It’s a movie about dealing with age, facing death, and the importance of family. Gris’ family is close and a model of happiness while Angel is miserable being in the same family as Dieter. There’s also the paranoia of dying, but the reminder that death is the natural order of things and eternal life may not be so pleasant if the body can’t support itself.

I kinda wanted more out of Cronos since there was so much in there to love. Sadly, the story kind of begins and ends. I’m one to complain if a movie’s run time goes too long, but I was so into this one that I wasn’t ready for it to end. I felt like there was a lot more to be explored, especially when the resurrected Jesús comes home after escaping from his own cremation. There were a lot of places the film could’ve gone from there, but instead that’s when the movie begins moving towards the ending. The make up looked awesome at this part too, and the bond between Jesús and Aurora also got a lot more interesting at this point.

Guillermo del Toro said that the most important movies in a film maker’s life are their first film and their last film. His reasoning is that the first film sets the stage for what they will be making throughout their career and the last film is the one that closes the book on their work. Cronos perfectly set the stage for del Toro’s career, even though it’s a minor entry into his filmography. Vampires would come back to del Toro when he made Blade II, and his take on fantasy can be seen in almost all of his movies. This is a really beautiful and relatively quiet look at vampires and horror that may not have the most prestige or biggest budget, but is obviously superior to many other vampire movies being released now.