The Exquisite Cadaver (1969), a film which seems like a trial run for Blood Splattered in parts, as well as the futuristic, avant-garde classic Fata Morgana (1965). Aranda’s stock continued to rise in Spain throughout the 70’s and 80’s with a variety of post-Franco regime transgressive films, one such title being the daring Sex Change (1976), which began his long and fruitful collaboration with actress Victoria Abril. Aranda hit pay dirt in the early 90’s with Amantes (1991), which found massive success in Spain and abroad at various festival worldwide, winning various awards including the Goya (Spanish Oscar) for best picture and best director. The 90’s would prove to be Aranda’s greatest period. Aranda followed Amantes with a series of fierce variations on a theme with 1993’s Intruso being one of Aranda’s finest, not to mention exceptionally grim treatments on the obsessions that would come to define Aranda's post-Amantes work.
While sitting in traffic, Louisa, a happily married mother of two, suddenly catches a glimpse of her former husband Ángel appearing sick, homeless and desperate. During their childhood, Louisa and Ángel, along with Louisa current husband Ramiro, were known collectively as “The Inseparables”, with Louisa and Ángel eventually marrying. The marriage however was short lived, and following the divorce Louisa married Ramiro and started a family. After seeing Ángel in such a sad state, Louisa is overcome with remorse and takes Ángel in to live with her and her family, reuniting “The Inseparables”. Ramiro isn’t exactly thrilled to see his old friend, and it soon becomes apparent that Ángel has been harboring years of resentment towards Ramiro. Further complicating matters are Louisa’s returning romantic feelings for Ángel and the discovery of a terminal illness eating away at Ángel, all which threaten to bring a fatal end to the “Inseparables” reunion.
Intruso (Intruder) is often considered an inferior cousin to Amantes to due both films centering around a tragic love triangle, however Intruso takes matters a bit further and into much darker territories with the inclusion of a family unit and having the lives of children affected by the central love triangle. Given the love triangle aspect, the film is naturally lurid in parts and the film works well as a thriller due in part to Ángel’s jealously and hostility towards Ramiro increasing throughout the film as his disease makes him more desperate, but Aranda is much more interested in the psychological effects of all three involved and it’s the psychological examination which eventually reveals Louisa as the films true central character. As Ángel’s illness progresses, so does Louisa’s guilt about Ángel’s current situation as she feels somewhat responsible having left him years before. While her romantic love for Ángel returns, she still has the same feelings for Ramiro and her children, ultimately making the ill-fated “Inseparables” reunion ruin her mentally as much as Ángel’s disease is killing him physically, which is represented brilliantly by Victoria Abril in the role of Louisa who’s emotional turmoil finally boils over late in the film in an explosive fit of histrionics made all the more affecting as her children are witnessing everything first hand. The kids play a major part in the film and although certain scenes featuring the two give the film some light, the film was appropriately destined to be a cold and downbeat affair.
Intruso was the ninth collaboration between Aranda and Victoria Abril who’s artistic partnership began again with Sex Change and would continue with Girl With the Golden Panties (1980), Asesinato en el Comité Central (1982), a 1985 episode of the anthology TV series La huella del crimen, Tiempo de silencio (1986), El Lute: Run For Your Life (1987), If They Tell You I Fell (1989), the mini-series Riders of the Dawn (1990), Amantes, Libertarias (1996) and The Maiden’s Conspiracy (2006). Intruso features some of Abril’s finest work and while she was nominated for best actress by Fotogramas de Plata, her performance in Intruso largely seems to stay in the shadow of her award winning performance in Amantes. Intruso was also nominated for several Goya awards however Aranda wasn’t as lucky as he was with Amantes. Its also interesting to note that much like Amantes was based on an true crime story that took place in 1950’s Spain, Intruso is also supposedly based on actual events that happened in Spain in 1916 but details on that are incredibly sparse. Perhaps due to the massive success of Amantes, it would seem almost inevitable that a similar film like Intruso would be looked upon as a lesser film when that couldn’t be further from the truth. Intruso is in fact one of Aranda’s masterworks, a deeply unsettling film that casts a haunting shadow long after its over.
Monday, July 10, 2017
The 1960’s saw the birth of many new worldwide film “movements”, the effects of which changed the way films are conceived, shot and eventually analyzed. Clearly the biggest of these movements was the French New Wave or “Nouvelle Vague”, with filmmakers like Jean-Luc Godard, François Truffaut, Jacques Rivette and Claude Chabrol who changed the game in the way of technique and storytelling, shooting on low budgets, often utilizing handheld camera work and featuring narratives that never spoon-fed audiences explanations. America also experienced a “new wave” of sorts with the so called “New Hollywood” years with benchmark films including Bonnie and Clyde (1967) and Easy Rider (1969). Not to be left out, Spain also had a radical film movement of its own when a group of young Catalan filmmakers formed a collective known as the “Barcelona School of Film”. One of, if not the leader of the group was Vicente Aranda, who’s second film Fata Morgana (1965) is seen as calling card film for the philosophy behind the Barcelona School of Film, eloquently defined by its Wikipedia page as being “concerned with the disruption of daily life by the unexpected”. Aranda’s follow-up to Fata Morgana, The Exquisite Cadaver, certainly fits that description and would prove to be yet another defining film for the BSOF and a film that would set in motion the obsessions that Aranda would return to numerous times throughout his career.
After receiving a package containing a human hand, Carlos, a hotshot publisher quickly discards it by burying it, however when he returns home his wife (Teresa Gimpera) reads him a telegram cryptically asking if he's interested in a forearm, attributed only to "Parker". The following day, another package arrives at Carlos' office and again he discards it by leaving it in the street although it finds its way to Carlos' home, its contents including a dress once belonging to Carlos' mistress Esther who committed suicide years earlier. Carlos is soon approached by a mysterious woman (Capucine) and after accompanying her to her home, she reveals herself not only to be Parker, but also Esther's former lover and blames Carlos for her death. While wandering through Parker's house in a drug-induced haze, Carlos' discovers Esther's body in the refrigerator. Not believing his story, Carlos' wife pays Parker a visit herself and learns the tragic truth about Esther as well as the packages being sent to Carlos.
The films title gives it another connection to surrealism with the phrase “exquisite cadaver”, more commonly refereed to as “exquisite corpse” and sometimes “rotating corpse” being a random assembly of words and or images conceived by the founding surrealists as a game, the name was born out of the phrase “The exquisite corpse shall drink the new wine” which is what resulted when game was first played. Based on a short story by Gonzalo Suárez called “Dancing For Parker” found in his book Thirteen Times Thirteen, the film was envisioned as having more commercial appeal than Aranda’s previous films and eventually received backing from American producers, however Aranda would later lose the rights to film for years following legal issues and there were at least five variations on the script before production even began. What’s more, Aranda based some of the script off the letters of Mariana Alcoforado, the famous Portuguese nun, purported to be the author of, of course, Letters of a Portuguese Nun. Given the legendary status of The Blood Splattered Bride amongst Euro horror fanatics, the lack of attention paid to The Exquisite Cadaver is a bit surprising. Readily available from Something Weird Video, the film is one of the most original in Spanish horror, not to mention featuring Teresa Gimpera at her most beautiful. Early as it may have came in Aranda’s career, The Exquisite Cadaver is nonetheless essential.