Aunt Tula (film)
| Movie | |||
|---|---|---|---|
| German title | Aunt Tula | ||
| Original title | La tía Tula | ||
| Country of production | Spain | ||
| original language | Spanish | ||
| Publishing year | 1964 | ||
| length | 100 minutes | ||
| Rod | |||
| Director | Miguel Picazo | ||
| script |
Luis Sanchez Enziso José Hernández Miguel Miguel Picazo based on the novel of the same name by Miguel de Unamuno |
||
| production |
José López Moreno Francísco Molero Nino Quevedo |
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| camera | Juan Julio Baena | ||
| cut | Pedro del Rey | ||
| occupation | |||
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| chronology | |||
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Tante Tula (German: La tía Tula ) is a Spanish black and white film by Miguel Picazo from 1964. The director also wrote the script, together with Luis Sanchez Enziso and José López Moreno . It is based on the novel of the same name by Miguel de Unamuno from 1921. The main roles are cast with Aurora Bautista , Carlos Estrada and Irene Gutiérrez . In Spain, the film first came out on September 21, 1964; in Germany it had its premiere on January 9, 1967 on the second German television.
action
A wreath “runs” along the street on spiky legs - the little boy who is carrying it almost disappears behind the monster. The hustle and bustle of death reigns in the mourning house: the clatter of the coffin lid, restrained sobs, whispered condolences and the groping of many feet. The pendulum of time stops for a moment when a person dies.
Life goes on with the opening credits. Rosa's beautiful 31-year-old sister Tula has taken the place of his late wife. She takes care of her brother-in-law and his now motherless children Tulita and Ramirin without reservation. She takes charge of the regiment energetically and resolutely, raises the children and looks after her brother-in-law. She brushes off an old admirer. By taking on her sister's duties, she renounces her own happiness. And she completely overlooks the strange situation she finds herself in: a single woman in the house of a widowed man.
However, within the walls Tula knows how to assert her place. Ramiro's sexual assaults repel her, hurt her virginal feelings. She only tolerates the intimacy of bed and nightgown in the sickroom, to which she calls “duty”. Her new task for the children alone - Tula makes this unmistakably clear - is what she has put in place of the dead sister. When Ramiro woos her, she finds his behavior mean and repulsive; for her “sacrifice” she demands respect and gratitude, not passion. She also rejects the accusations of her confessor, who advises her to marry, and accepts that she will be drawn to pride and self-righteousness. It is only Ramiro's attack on her virtue, which only fails through her angry resistance, that makes her pensive. But now it's too late. Ramiro will marry his little cousin Juanita, the girl he seduced - half out of desperation at Tula's rejection.
Awards
In 1964, the film was awarded the silver shell for best director at the Festival Internacional de Cine de San Sebastián .
criticism
In its online edition (Two Thousand and One), the Lexicon of International Films draws the following conclusion: “A captivating portrait of a woman who is utterly shaped by traditional tradition. Remarkable in terms of staging as well as thematically, the film describes the stages of their deception with tact and sensitivity and leaves it to the viewer to establish socially critical references. ”The Protestant film observer is also full of praise :“ Thanks to the excellent actors and a sensitive camera, we succeed Director an excellent portrayal of Spanish small-town society with its barriers and conventions, exploring the depths. "
Web links
- Aunt Tula in the Internet Movie Database (English)
Individual evidence
- ↑ a b Protestant film observer . Critique No. 22/1967, pp. 33-34.
- ↑ Aunt Tula. In: Lexicon of International Films . Film service , accessed December 23, 2016 .