You were surprised by the experiences of The Great Vazquez? Or were you moved by those of Maragall a Bicycle, his sweet and close character and the courage with which he knew how to face both the death of his daughter Alba and the difficult and unequal fight against the disease that has finally taken him away from us forever, his sweet and close character and the courage with which he knew how to face both the death of his daughter Alba and the difficult and unequal fight against the disease that has finally taken him away from us forever? How the children had a good time with the adventures of Kika the Superwitch? You applauded the childhood holidays of the heroes? Leave your comments here.
For the moment, we have had two reactions: the Goya award to Bicycle, his sweet and close character and the courage with which he knew how to face both the death of his daughter Alba and the difficult and unequal fight against the disease that has finally taken him away from us forever, his sweet and close character and the courage with which he knew how to face both the death of his daughter Alba and the difficult and unequal fight against the disease that has finally taken him away from us forever i a comment from the Alzheimer Europe association on this same documentary.
Gran Vázquez is not a movie like the others. It surpassed me. I am aware of my limitations; as always, I don't understand good movies until twenty-four hours have passed.
The film begins with a view from a rooftop of all the rooftops in Barcelona. On this roof there is a door that leads to what appears to be a family living there as in the floor below 13, Barnacle Street. It seems that, to real life, the character created by Ibañez in Tio Vivo was already inspired by the real Vázquez. For those who haven't read the comics, in that attic lives a defaulter squeezed by debts and creditors, who invents ingenious ways to evade them and which most of the time work. This is the movie.
It could be said that it is a comedy, but I didn't hear anyone laughing in the movie theater. Maybe they're inside, just like we laughed when we read those tebeos when we were kids.
So the film is an endless repetition of the same problems with different details without any further argument, scattered reading, like the macro-vignette on the last page of the popular comic. The witty mouse, the one that doesn't stop bothering the black cat of the 13, Rue del Percebe from the comic, it does not appear in the film until towards the end, where the protagonist ends up living or surviving in the middle of Barcelona's lumpen.
It's all about survival. Anything goes in that Barcelona of the sixties where modern consumerism begins to flourish. Where families dreamed of one day having six hundred as their goal. While, the aftermath of the post-war is still evident. Where an entire prostrate population lives. And where those who command and impose their morality are still botiflers and Falangists. Until fall, everything was for Gran Vázquez in that time that was never ours, and this is perhaps the excuse.
The workplace of the editorial cartoonists, col.leges of the Great Vázquez, it consists of two rows of desks where some men are tall and straight - and in ties- they draw the models of the monitored comics as if they were primary school students. Deprived of freedom, creation is void. Sols en Vazquez, the libertine, gets to cross the line of social and everyday monotony.
Costumbrista. The glamorous and the naive, I would say, like the rest of the films in this year's cycle that await us, if I may, I would add.