ma-cortes This intelligent drama based on a Miguel Delibes' novel and screenplay by Antonio Larreta is perfectly acted by a strong cast and masterfully directed . It depicts a brooding study about rich and poor society , making a shattering accusation against the powerful class who cares on selfish occupations more than help families in distress . Somewhere in the Extremadura region ( Spain ) , in the 60s where still rules medieval traditions , archaism and feudalism . Paco ( Alfredo Landa) and his wife Régula (Terele Pavez) along with their tree sons - one of them is backward - form a very unfortunate family . They work as tenant farmers for wealthy baron land ( Agustin Gonzalez , Agata Lys ) of a ¨Cortijo¨ . The older sons can not go to school because the ¨Señorito¨ needs their employment as servants . When Regula's brother ( Francisco Rabal) is fired by another landowner ( Jose Guardiola ) where he has worked for several years , then he settles down along with the family and the events get worse .This over-the-top movie contains a relentless criticism to high class and the human exploitation and an attack against the rural life during the Francisco Franco time of the 60s . It's a thought-provoking drama about sacrifice, familiar love and feeling with interesting character studio of a varied assortment of individuals . It's a brilliant and touching film though sometimes is slow moving and tiring but is developed with intelligence and sensibility. In the picture are treated ethic and moral themes narrated with great sense of fairness and ductility .T his top-notch movie featuring a magnificent acting by whole casting . Awesome Alfredo Landa as the servile Paco and his wife a sensational Terele Pavez . Enticing and sensational roles with first rate performances as the cocky Señorito Ivan exceptionally acted by Juan Diego , the marchioness Mary Carrillo and her daughter played by Maribel Martin also producer along with the early deceased Julian Mateos . Of course Francisco Rabal who steals the show as Azaria always shouting : ¨ Bonita Milano¨ . Both players , Francisco Rabal and Alfredo Landa , deservedly won Ex-aequo prize the best actors in Cannes Film Festival and Prize of the Ecumenical Jury - Special Mention to filmmaker Mario Camus and the picture was Nominated Golden Palm .Furthermore , ample shots on cloudy and nebulous skies and prairies plenty of trees filmed on location in Alburquerque, Zafra , Merida ,Badajoz, Extremadura, Spain with fine cinematography by Hans Burman . Atmospheric and evocative musical score by usual Anton Garcia Abril. This excellent motion picture is dedicated to makeup artist Julian Ruiz and stunningly directed by Mario Camus . Mario is an expert on interesting dramas as proved in ¨ The house of Bernard Alba¨ , ¨La Colmena¨ , ¨The days of the past ¨ and many others . Rating : Better than average , it's a riveting film though very depressing and downbeat . Essential and indispensable watching .

imbicta Back to the beginning of the 20th century, the countryside of the Iberian peninsula was controlled by land tenants who enjoyed a set of privileges that would be considered more typical of the middle ages than of modern times. As for example, having enslaved families working on their farms.Now this is obviously an issue that 2 actual European Union countries like Spain and Portugal don't like to be reminded of. Nobody likes to remember that less than 50 years ago this was still a reality. So with time it became a non-issue, an unsponsored reality.What Camus does with this movie is remarkable. Not only by his technique and the end result of this film, but mainly because it gives voice - and more importantly, it gives images - to this hundred of anonymous stories that were never portrayed before with such care.A must see.

Erwino Ouwerkerk If I would believe in a god who created man as his equal, Mario Camus would be one of the first people to come in mind to make me understand how powerful that god must be. 'Los santos inocentes' is a masterpiece of European cinema. The movie brings us back to times in Spain where most people were nothing more than property of the few rich. The 'master' even had the right to be the one to make the daughters of his serfs lose their virginity. A man and wife living such a cruel life, with trouble enough of their own, still open up their house for the wife's brother Azarias (Francisco Rabal), when he -at old age- loses his job. And Rabal gives us a performance of simplicity and joy that we will never ever forget. Although I've heard of people who found it difficult to see the beauty through all the misery, to me this is one of the most beautiful movies I've ever seen. Possibly also the very best.

Keith F. Hatcher The last twenty five years of Spanish filmography have produced a number of titles which have indulged in sociological themes, mostly using the years of the Franco Régime as a background when not a mere scapegoat. El Sur (Victor Erice)(qv), Las Ratas (Giménez Rico)(qv), Las Bicicletas son para el Verano (Jaime Chávarri) as well as several by the now deceased Pilar Miró, come to mind. But perhaps none reach the powerful endorsement achieved in Los Santos Inocentes, carefully and predictably directed by Mario Camus. Faithfully transferred from the book by Miguel Delibes, also author of Las Ratas, as well as singularly impressive narratives such as Cinco Horas con Mario, a true tour de force in contemporary literature, and the intensely lyrical and moving El Camino, Camus inspired the principal actors - Paco Rabal, Alfredo Landa and Terele Pávez - into producing some memorable scenes.Scenes of illiterate peasants obeying their master, landowner, insensible to everything except his passion for hunting; peasants who were so hugely grateful for the handful of pennies so compassionately handed out by the rich duchess; peasants who grovelled in the filth of their mean shack and could barely write their own names. Spain: about 1962 if the registration number of the big black Mercedes is anything to go by. Spain, in the region called Extremadura, which even today is the poorest part of the country. Spain, governed by a dictator who himself was extremely uncultured. Camus, armed with the simple but sincere exposition in Delibes' novel, manages to show this plight, but without the tremendism so frequent in Spanish books or films; without any soured feelings, but dispassionately, like a surgeon operating for the five hundredth time on gall-stones. The story was there to be told and not sympathized over. Not for the pop-corn eating public, more for the discerning cinema-goer who can give what the film demands: attention to details. The incision is precise, exact, giving greater credibility to this little masterpiece.