The Argentine director Juan José Campanella, winner of Oscar to the best foreign film in 2010 for the secret of his eyes, he bet Clara Lake for one of the roles of his last film,
The story of the weasel
, premiere today in Spain. He bet and won. Madrid actress holds the pulse to interpreters so consecrated in that country as Graciela Borges, Luis Brandoni, Oscar Martínez or Mark Mundstock, the latter also a member of Les Luthiers.
In the film, the character of Lago (Bárbara Otamendi) has as an accomplice the one played by the young actor Nicolás Francella (Francisco Gourmand). They are the bad guys who start making good ones, just as good guys end up doing bad things. And this is not a spoiler that is going to spoil the intrigue of this black comedy, because the reversal of roles can be seen coming from the beginning. In addition, the grace is in the development of events, in the refined dialogues and in the performance of the actors.
In 'The Tale of Weasels', the bad guys start making good and the good ones end up doing bad things
Campanella thought of the film as "a movie from before, with its twists and turns to laugh and cry." The film is a remake from Argentina too
The boys from before did not use arsenic
(José Martínez Suárez), failed at the time to go to premiere days after the military coup of 1976, when the new and cruel military authority still recommended to the population not to leave home.
The approach is the same as that of the film in which it is inspired, which Campanella was ready to turn into a play in principle. Three friends of old age, old glories of cinema, face the decision of the woman of one of them, once a beautiful and famous actress, to sell the house where they live a young couple of real estate wolves dressed as lambs that just happened to be there.
"For some time I wanted to make a celebration of classic cinema," says the director, and cites as references to the great master Ernest Lubitsch and his outstanding disciple Billy Wilder . Both knew how to combine plot twists, romance and intelligent dialogues "without making the emotions disgusting," says the filmmaker. And that was the "classic touch" that he wanted to add in his version of Los muchachos .., whose original script seemed "a good vehicle" to carry out his project.
The director proposed that towards the end of the film, when the war of strategy between the smartass youngsters and the snotty old folks reaches the end, "the audience laughed out loud and applauded acts that in real life are condemnable".
Campanella sought to strike, in short, the dark appeal of "the perverse, the cynical and the bizarre." Well today – partly as always but perhaps more than ever – "the public celebrates the politically incorrect"; that is, the evils of those we consider good (the elders) over those we soon see as villains despite their initial patina of kindness. It is what happens to us with
Hansel and Gretel
when they burn the witch in the oven.
Campanella clicks in a comic key the dark appeal of "the perverse, the cynical and the bizarre"
Not in vain the film has the word "story" in the title, he says. Nor is it casual that its atmosphere, decorations, color and even its music have something unreal. "To achieve complicity with the perverse, I had to set distances with elements of unreality," he explains.
Campanella opted for Clara Lago after a thorough casting and that she had already done Argentina in At the end of the tunnel (Rodrigo Grande, 2016). The director does not regret: "The role of Clara," he says, "is important and very difficult. But she knows perfectly how to play both a charming girl and a tough woman. And, the most complicated, it makes the arch very well from one to the other. Besides, she adds, she has the virtue of growing in expressiveness as the camera approaches her. " A whole collection of compliments. Little joke, coming from who comes.
Clara Lago has the virtue of growing in expressiveness as the camera approaches her "