This movie has no plot. It is scarcely an etching or better yet, a portrait of those minute portraits of painters without luck (and some even without art) on the streets of Madrid c. 1950.
The “capital of the Empire” was more than ever the breakwater of Spain. A breakwater of grays, still rationed, tender and cruel, poor even in its joys, convalescent (always with tenths at dusk), but also rogue, festive and surreal. A merry-go-round, in short, of survivors of whom, we like it or not, we are heirs.
ÁNGEL DE ÁNDRES LÓPEZ
JOSÉ LUIS GARCI y HORACIO VALCARCEL
JOSÉ LUIS GARCI
NICKEL ODEON DOS S.A., ENRIQUE CEREZO, P.C. S.A. y PC29 S.A
RAÚL PÉREZ CUBERO
LOURDES DE ORDUÑA
To evoke the Madrid which no longer exist, except in our memory, it was necessary for Gil Parrando (a decorator with two Oscars and two Goyas) to design, build (with Ramón Moya) and give atmosphere (with Julián Mateos) to 24 sets.
From the Retiro Metro station to a huge neighborhood café; academies of shorthand or society dances: the BOCA (Western Bank of Credit and Savings) operations yard, with pretentious marbles and pens attached to the central table; car workshops, sunless pensions, luxurious houses, middle class, low class and classless, movie theaters of the Gran Vía … Spaces to house almost a hundred characters that go around the merry-go-round of something we do not why they call it life.
And bring back the spirit of that time to the environments that still remain (in the Palace Hotel, in Chicote cocktail bar, or the nightclubs of Florida Park or Pasapoga), so that everything seems the same and we can gossip stories of then.
2004: Premios Goya: The Best Art Direction