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shot around 1976, the film, by francisco lopez-ibanez and the late cameraman javier aguirre, is truly some of the most elegant filmmaking since the westerns of the 1920s. the band enters through a verandah lit by flickering flames and vibrant colours, with sandstone columns and a temple façade. there are two contrasting worlds which tend to encapsulate the film, the brothel and the military garrison. we see the prostitutes with their jewellery, trading among themselves, and the soldiers in uniform slowly manning their guns. it's a tense encounter, as if they are foreign invaders but are, in fact, the vanquished rulers of the land and only have to show their weapons and, by so doing, regain a measure of honour.
situated in the typical new york scene of wall street merchants and jockeys, the film brilliantly portrays the post-war atmosphere in the city. the characters come together at the race track, where they await the results of their bets. all the characters (except for the hero) have a face that conveys anxiety, and every last shot is a reminder of the theatrics of the moving image, the blurring of the screen and that it could conceivably go out of focus.
the girls are both friendly and unattainable, and it is to fitzgerald's credit that while on the surface he appears to be in thrall to them, he also remains a suspicious, even unrequited, onlooker. there is some warmth and humour in the scenes between the hero and the girl he ultimately abandons, just as there is the lack of warmth between the hero and his mother. the film shows how the lives of women are subject to a myriad of factors beyond their control. being 'over' and 'under' makes no difference, sometimes, to the outcome, and it's a study of the way in which the erring hero returns to the same mistakes and prejudices in the years that follow. 3d9ccd7d82