Der Henker

It is often true that the best comedies are those which hide (or should I say show) terrible pathos and anguish beneath their comic skin. Billy Wilder, for example, has often been praised for his mastery of this art, in films such as The Apartment and The Fortune Cookie.

So has Berlanga, who is undisputedly the gratest comedy writer/director in Spanish film history, and one of the best of Europe. And his masterpiece, El Verdugo, is such an awesome tour de force of his talents that it never ceases to amaze, even after repeated viewings.

El Verdugo is a comedy, yet it is probably the most moving and powerful anti-death penalty story ever written. It achieves this by showing the act of killing a person as what it is, such an unnatural and repulsive thing that for most of us it would be impossible to perform. And, as an executioner, that is exactly the role that Jose Luis (Nino Manfredi) sees himself thrown into. The situation is seen by Berlanga not only as dramatic, but also absurd, and all of Jose's antics and ploys to avoid ever having to do his job are also so absurd that they are comical, and very much so. But the viewer also simpathizes with him because we instantly understand the horror of his situation, the dreadful Damocles' sword that hangs over his head. Both the comedy and the drama go hand in hand right until the devastating ending of the film, one of the most memorable and tragic scenes ever comitted to celluloid.

Giving it a 10 out of 10 still seems short to me. PLEASE see this film if you can, you will never forget it.

The Executioner is a macabre comedy which is considered to be one of the best Spanish films and to call this simply a movie is not enough. Yes, it's a fairly basic plot which could never be described as "feel-good" but that isn't (and it never was) a priority. No, its priority is the heart and soul that was put into it.

What we got here is a satirical view on the middle class situation with anti-death penalty as it's theme throughout the runtime. The guy in the film is literally out of luck and after having to marry the executioner's daughter things begin to change for him for no good. Nino Manfredi's performance as Jose Luis is superb, Jose Ibert is just as splendid.

The screenplay is crammed in Kafka-esque tone to expose the bureaucratic horror with one of the grotesquely funny and Powerful final scene. The ending is easily one of the most memorable ever, it's just so heartwrenching and profound.

Another masterpiece by the notorious filmmaker Luis Garcia Berlanga who shows the lively as well as sad existence of an executioner . Maestro Berlanga realizes another excellent film plenty of irony , habits , Spanish social life , good feeling and political critical . An undertaker (Nino Manfredi) gets married to an old executioner (Jose Isbert)'s daughter (Emma Penella) and, although he doesn't like it, must continue the profession of his father-in-law after his retirement . However , his profession is not exactly what you could call ¨popular¨ . As when the old man retires, his place is vacant , as his son-in-law doesn't like at all becoming an executioner, but that is the only way to keep the house where he is going to live after getting married.

This is an enjoyable story that contains busy comedy , humor , frantic pace , blatant critical against death row , amusing gags , rowdy satire , noisy hustle and is pretty entertaining . It is considered to be one of the best films from Spanish cinema history and has been voted second best Spanish film by professionals and critics in 1996 cinema centenary .The main and support actors stand out under perfect direction of Berlanga , including sour criticism as well as carried out in previous and subsequent works such as ¨Placido or Escopeta Nacional¨ that include bitter , pessimistic descriptions of social classes . In ¨el Verdugo¨ we can find very fun characters, all of them caricatures of the "spanish way of life" and a mirror on the Spanish society by that time . ¨El Verdugo¨ (1963), one of the undisputed masterpieces and fundamental in filmography of Luis Garcia Berlanga where shows the miseries of an amoral society and shot at the height of his creativity, in a period cultural difficult, where the enormous censorship of the political regime, exacerbated the ingenuity and imagination of the scriptwriters . Awesome playing by Nino Manfredi as a naive , ingenuous ,gentle undertaker turned into executioner , an agreeable Emma Penella and of course , the great Jose Isbert , Berlanga's habitual , in the best interpretation of his long career . The movie displays a Spanish secondary star-studded such as : Maria Luisa Ponte , Jose Maria Prada , Angel Alvarez , Xan Das Bolas , Alfredo Landa , Agustin Gonzalez , Chus Lampreave , Jose Saza , Julia Caba Alba , Antonio Ferrandis , Jose Luis Coll , Felix Fernandez , Jose Orjas and the likable Jose Luis Lopez Vazquez who improvised the moment when measured the child's head , among others . Evocative cinematography in white and black by Tonino Delli Colli , Sergio Leone's usual cameraman ; being filmed on location in Island of Mallorca , Madrid exteriors and C.E.A. studios , Ciudad Lineal, Madrid. Atmospheric and adequate musical score by Miguel Asins Arbo .

Direction by Luis Garcia Berlanga is very good , he shows his skill for edition , realizing long shots with crowd who moves easily Berlanga filmed several polemic movies during the 50s , all of them were beset by difficulties with the censors caused by real critical to social stratum such as ¨Bienvenido Mister Marshall¨ (1953) , a very good film which tended not to be very well received by the censor for its acidity and considered to be one of the best Spanish films of the history ; however, his strong portrait of Spanish society , plenty of sharpness , didn't please the pro-Franco authorities . His next joint venture was ¨Los Jueves, Milagro¨ (1957), it was modified by the censors and delayed for several years before its eventual release . Later on , Berlanga made one of his best films ¨Placido¨ (1961) masterfully played by Cassen , this is the film debut for the great producer Alfredo Matas and received an Oscar nomination in 1963 , being well-received at the International Festivals , reviewing the useless charity , it's a sublime film but with censorship realized by this great maestro Luis Garcia Berlanga . He continued filming other interesting pictures as in 1973 he went to Paris to begin filming ¨Grandeur nature¨ with Michael Piccoli , another problematic film , focusing this time on the fetishism of a man who falls in love with a doll . Several years later , after Franco's death, he filmed a trilogy comprising ¨La Escopeta Nacional¨ (1978), ¨Patrimonio Nacional¨ (1981) and ¨Nacional III¨ (1982), where he clarified the evident disorders in the Spanish upper , middle-class upon being confronted with a new political status quo , realizing a sour denounce of the Spanish society . Berlanga ulteriorly shot a peculiar film titled ¨La Vaquilla¨ (1985) plenty of Spanish-star-cast and set in the Spanish Civil War , resulting to be the first time dealing with this convulsive period in comedy style . Following the same themes, he went on filming coral films such as ¨Moros and Cristianos¨ and ¨Todos a Carcel¨ (1993) that won three Goya Awards for Best Film, Best Director and Best Sound ; being his final film : ¨Paris Tombuctu¨. Rating ¨El Verdugo¨ : 8'5 , pretty good . Essential and indispensable watching for Berlanga aficionados . Better than average and well worth seeing . Essential and indispensable seeing .

Luis García Berlanga's El Verdugo (The Executioner) was recently named the second greatest Spanish film of all time yet it still remains unknown to many non-Spanish people. Perhaps the reason it's so unknown is due to the fact that it was released during the Spanish dictatorship lead by General Franco and this did not permit it to get an international recognition and viewing. Whatever the reason, it's a pity that this little treasure of a film can not get the international recognition it deserves. It's one of the great black comedies I have seen, a fierce yet hilarious critique on the death penalty. Berlanga's inspiration is Franco's regime which practised it, but it has a universal appeal.

Filled with memorable gags, the story starts with Jose Luís (Nino Manfredi), an undertaker who is thinking of moving to Germany to become a good mechanic. In love with Carmen, daughter of Amadeo (José Isbert), an executioner, he is one day discovered by her father during there moment of intimacy and is forced to marry her – the undertaker marries an executioner's daughter. Jose Luís is faced with economic difficulties and the urgent need to create a new home for his new wife. The only way of solving this problem, it seems, would be accepting his father in law's offer (Amadeo): to take the vacant place of executioner Amadeo is leaving due to retirement. Only this way will he get a home. Under pressure from his surrounding, Jose Luís accepts the job convinced that he will never have to put it into practise. Life goes on pleasantly in his new home until one day he receives the feared telegram: he must execute a convicted man.

The story, filmed in a black and white photography that feels so fresh, sounds serious because below the comical surface, lies not only the serious subject matter of death penalty but also the wide spread pessimism caused by Franco's regime. Director Berlange could have chosen to tell the story as sad drama but he doesn't: in a way, he is laughing at the absurd logic and inhumanity he feels the death sentence is. The film's true brilliance lies not in the wonderful all around performances, but in its screenplay that takes on a comic tone that is apparently inoffensive to condemn an action that is just as inhuman as those committed by the executed. And the great irony is that the executioner goes through much worse emotionally than the executed in a great sequence. The movie looks with amusement at the idea of how those who execute can go on there days with a calm conscience. But don't get the wrong idea, El Verdugo does not portray the condemned as victims – it is not interested in there guilt or innocence. The only victims, it suggests, are those that accept to practise inhumanity under the name of justice. There are so many brilliant comical sequences that have nothing to admire from the exhausted and cheap comedies we get from many of the films nowadays.

This is a film that will certainly be less appealing to those in favour of the death penalty. For those who do not which to dwell on such a subject can look at it on its simplest level, which is that of a first rate comical masterpiece.

Fiercely funny and unapologetically black, "The Executioner" is among the most entertaining comedies that I have ever seen. Through morbid themes and distressing issues, this masterpiece of the macabre is one of Spanish cinema's many miracles. The pace is as fast as a speeding bullet as visionary filmmaker Luis Garcia Berlanga slyly mocks the heated controversy of capital punishment. Forcing its lead character to choose between traumatizing himself and living a life of poverty, Berlanga is masterfully able to turn transform tragedy into farce.

While the constant comedy may seem to some as no more than silly distraction from the social commentary, I sensed not only a consistent sense of farcical satire in the masterwork, but also a consistent sense of dread and awareness. The film can be split into two halves: the first being a slightly morbid, but utterly charming romantic comedy, and the second being a much more bleak work of direful, tragicomic satire. Many satires have the unfortunate flaw of paying much more attention to their message than the quality of their script, characters, and plot; "The Executioner" shares all of these traits. Beyond the black and social critiques, there are some highly likable characters and a flat-out amazing premise, satirical or not.

Chaotic, sad, and laugh-out-loud hilarious in equal measure, it is hard to determine whether "The Executioner" is a work that leaves an imprint of joy or sorrow. My reaction is one of both, for the ambiguous ending serves as both a punchline and a bone chilling reminder of the unpredictable tragedies hidden deep within the human experience.