Except for a handful of unusual and intrepid cases, with Supersonic Man, by Juan Piquer Simón, Lucky, the intrepid, of Jesús Franco, and Makinavaja, the last choriso Y Be dangerous! (use, Makinavaja 2), both by Carlos Suárez, as clearer (and more distant) examples, plus a couple of adventurous adventurous productions (The return of El Coyote, by Mario Camus, and Captain Thunder and the Holy Grail, of Antonio Hernández), the patriotic comic has interested rather little during too many years to the Spanish cinema.
Address: Javier Ruiz Caldera.
Interpreters: Dani Rovira, Alexandra Jiménez, Julián López, Maribel Verdú.
Gender: comedy. Spain, 2018.
Duration: 107 minutes
However, of a time to this part, especially from the first and successful attempt of Javier Fesser with Mortadelo and Filemon, the producers are using some of the biggest myths of the cartoons to adapt them to the new times in an operation of difficult accommodation. An exercise that has been clearly divided into two systematic ones. The one of trying to capture on the screen the spirit, the cadence, the form, the color and the type of humor of the originals, either in animated format or in real action, with The great adventure of Mortadelo and Philemon (2003), Mortadelo Filemón. Mission: save the earth (2008) and Mortadelo and Filemón against Jimmy El Cachondo (2014) as paradigms. Or pick up the nominative myth, with the easy use of its extensive base knowledge by the possible audience, to tell a story centered on its characters, but that has little or nothing to do with the spirit of the comics. Place where they would be placed Anacleto: secret agent and above all, Zipi and Zape and the club of the marble Y Zipi and Zape and Captain's Island, both more outstanding of the American infantile cinema of the eighties that of the histories of Escobar.
Superlopez, directed, as Anacleto, by Javier Ruiz Caldera, and written by Borja Cobeaga and Diego San José, belongs to this second group. The comic of Jan, minority if we compare it with those of Ibanez or Escobar, but widely known, even for the lining, may like more or less (this critic spent more than on tiptoe for him as a child, and in an adult recovery he has stayed outside again). But what is certain is that Ruiz Caldera's film only picks up from the comic the roles and the parodic sense of Superman Nothing has to do in the formal, and even less in the spirit of his humor, also devoid of the social burden that Jan has been incorporated into his work.
With the difficulty of being effective being the parody of a parody, Superlopez strip in his villainy of the line Austin Powers, and in his heroic side of a kind of pantomime of the romantic comedy (where Ruiz Caldera and his writers give another twist to Three more weddings Y Pagafantas), in which none of his great comedians (Dani Rovira, Alexandra Jiménez, Julián López) manages to summon the smile throughout the first half of the story. Nothing is wrong: neither the interpreters nor the situations nor the dialogues nor the direction. And, nevertheless, not a grimace, because nothing is good enough to provoke a certain revelry.
From the superpowers tests, the film improves (except in its action), but it remains to be seen that the production has been spot on in its attempt to be a popular and familiar success: Jan's purists may seem a sacrilege, so it may be in the hands of those who did not know the comic, which, yes, will be many more.