
Víctor Erice
Spain / 1973 / 98 mins. / Spanish with English subtitles
In 1940s Spain, two sisters become obsessed with finding Frankenstein’s monster. In a small Castilian village in the early 40s, in the wake of the devastating Civil War, Ana and her sister, having seen a mobile projection of Frankenstein, becomes obsessed with locating the legendary Monster. A complex allegory and bewitching portrait of life under Franco’s regime, the film captured the effects of hidden traumas resulting in the willed avoidance of painful past experience, and the resonance of the absences that the Civil War had caused in every family. Erice once said there were several movies within a movie. A film that is, at heart, a love song to a earlier cinema: that kind of cinema shown at neighborhood theaters where villagers discovered the great American titles of the time. But more than that: a lyrical inquiry into the discovery of the world precisely through film
Víctor Erice was born a Vizcaya, 1940. Study direction in Madrid Film School in 1963. Film critic for various publications but especially in the magazine Nuestro Cine. Makes his directorial debut in an episode of The Challenges (1969). It has an important impact critical The Spirit of the Beehive (1973), told with great simplicity the relationship of two young girls with his father and the fear and fascination that holds both children. After ten years working in advertising shoots The South (1983), again on a complex relationship father-daughter in the sad world of the forties, but, despite the producer Elías Querejeta only allows to shoot the first two thirds,is considered a masterpiece. After another long period advertising shoots Dream of light (1992)a work on the realist painter Antonio López.
San Sebastian International Film Festival (1973) - Best Film
Chicago International Film Festival (1973) - Silver Hugo
Silver Fotogramas (1973) - Best Spanish movie performer (Anna Torrent)
Spanish Cinema Writers Circle (1973) - Best Actor, Best Director, Best Film
Quotes
"The gaping holes in the plot of The Spirit of the Beehive and the mysterious motivations of its characters are typical of this "Francoist aesthetic," a term used to describe artistically ambitious movies of the time that made use of fantasy and allegory. These characteristics, which remain so magical to modern audiences, were used in the period as a form of indirect critique." -Paul Julian Smith, CRITERION COLLECTION
"The beehive is the film’s totem of a troubled Spanish society." -Kevin Jack Hagopian, NEW YORK STATE WRITERS INSTITUTE
"The story that emerges from his lovely, lovingly considered images is at once lucid and enigmatic, poised between adult longing and childlike eagerness, sorrowful knowledge and startled innocence." -A.O Scott, THE NEW YORK TIMES