La caza

This third feature of Carlos Saura is the one that put him on the map internationally. Made twenty-seven years after the end of the Spanish Civil War and with almost ten years of Franco's regime remaining this powerful film reeks of death and oppression.

It concerns four mucho macho men who meet up to enjoy the manly pursuit of rabbit hunting! As they begin stalking their quarry they begin to fan out as if on patrol. Three of these men are no strangers to patrols as they are veterans of the Civil War who fought for Franco and the area in which they have chosen to hunt is where some of the bitterest battles were fought. The fourth is the son of a former Falangist who has his father's German Luger to prove it. We soon realise that this hunt is merely a substitute for the real thing. As one of them casually observes: 'the best hunt is a manhunt'!

Many rabbits are successfully slaughtered but when one of the hunters shoots a ferret belonging to a local peasant the fragile cameraderie begins to unravel with devastating consequences........

This brutal, uncompromising piece is not an easy watch by any means but intensely gripping nonetheless thanks to Saura's taut direction, extensive use of close ups, Luis Cuadrado's stunning cinematography and the uniformly excellent performances. The bleached, barren landscape heightens the films effectiveness.

Apparently this film had a profound influence on a certain Sam Peckinpah. Well, it would, wouldn't it!

Three men go hunting rabbits during a hot day. The heat and talking about events that happened in the past make them angry, until they go totally crazy.

The film was shot in a valley that once witnessed a Civil War battle similar to the one described in the dialogue. The movie has since become a classic, and a landmark in Spanish cinema. While I think it is far fro ma perfect film, it makes a lot of sense that this would be an influential picture. As a society, Spain was probably still overcoming its past in the 1960s. This was one way to confront that.

I am not familiar with any other film from the director, so far as I know... it might make sense to see this in a wider context.

Interesting and thought-provoking look about a rabbit hunting excursion through a hot , long day . Well directed film by Carlos Saura who tried to create a sort of Spanish Neo-Realism by tackling a hunt starred by four former friends (Alfredo Mayo , Jose Maria Prada , Luis Merlo and Emilio Gutierrez Caba) that becomes a violent confrontation . Both of them find their friendships extended to the breaking point in which emerges violence and vengeance , turning the characters over the edge of breakdown .

This sour picture is well set in Spain of the 60s , when four friends set out a planned hunting and as minor events and disputes led toward more frequent and angrier facing off . This film was notorious in the years of the Franco dictatorship including provoking and polemic issues and played by known and prestigious actors . His style is pretty much sour , dry and realistic as well in the atmosphere as in the fresh dialog . ¨La Caza¨ is one of Saura's undisputed masterpieces and fundamental in his filmography where shows the miseries of some amoral characters 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 . Splendid photography with juicy atmosphere by Luis Cuadrado who along with Teo Escamilla are considered to be two of the best Spanish cameramen , both of whom worked for Saura . Being splendidly filmed on location in Aranjuez, Madrid, Esquivias, Toledo, Castilla-La Mancha and Seseña, Toledo, Castilla-La Mancha, Spain . Atmospheric musical score by Luis De Pablo who composes a thrilling soundtrack plenty of drums and piano sounds . The picture deservedly won Silver Bear in the Berlin Festival for ¨ La Caza or The Chase¨ (1966) his most successful film .

The motion picture perfectly produced by magnificent producer Elias Querejeta was stunningly directed by Carlos Saura , a good Spanish movies director. He began working in cinema in 1959 when he filmed ¨Los Golfos ¨(1962) dealing with juvenile delinquency from a sociological point of view . Saura is a well recognized filmmaker both nationally and internationally, and in proof of it he won many prizes among which there are the following ones: Silver Bear in Festival of Berlin for Peppermint Frappé (1967). Special Jury Awards in Cannes for La Prima Angélica (1974), in 1973, and for Cría Cuervos (1976), in 1975. Also, the film Mamá Cumple Cien Años (1979) got an Oscar nomination in 1979 as the best foreign film, and it also won the Special Jury Award at the San Sebastian Festival. He subsequently made ¨Deprisa , Deprisa¨ based on facts about juvenile delinquency in Spain since the 80s , as he tried to take a position in favour of outcast people and he got to make a both lyric and documentary-style cinema . In 1990, he won two Goya , The Spanish Oscar , as best adapted screenplay writer and best director . Saura became an expert on Iberian musical adaptations as ¨Carmen , Amor Brujo , Bodas De Sangre , Sevillanas ,Iberia , Salome, Fado, Flamenco ¨ and even recently Opera as ¨Io , Don Giovanni¨

Carlos Saura's third feature LA CAZA won him a BEST DIRECTOR Silver Berlin Bear that year at the age of 34 (a triumph he would duplicate in 1968 with his next project PEPPERMINT FRAPPE and a final Golden Berlin Bear winning in 1981 for FAST, FAST), which is quite a prescient gesture then, Saura has a comparatively prolific career, even today, this reverend octogenarian is still making his next project. LA CAZA is only my second Saura's entry, after the soul-pulverizing domestic tale RAISE RAVENS (1976, 9/10), this time he was 10 years younger, vigorously sets up a male- predominant set-to among three old chaps in a stark hunting party, an eleventh-hour outburst bookends a weathered generation's disaffection and angst, it is an unpolished bravura to pull the trigger in such a reckless manner, but no one would deny the sleight of hand of cinematography (the late DP Luis Cuadrado) and how Saura patiently paves the way for its drama layers and how he would detonate the time-bomb with eloquent narrative arc.

The film devices a plain story about 3 old friends (a fourth partaker is one friend's young brother-in-law) reunite for a rabbit-hunting expedition in the rural hillside, soon their friendship would be tested under the entanglement of money problem, peer contempt and chronic discontent, starts with a premonition of one of them cannot find a first aid kit for his wounded finger.

Before the open-space shooting, they converse from hunting rabbits to man-hunting, from natural law's priority to piranhas' metaphor for hoi polloi, one who is familiar with that particular period of Spanish history may find access to many allusions here. The actual shooting is all fly- on-the-wall, with a dozen of poor critters being mercilessly put under the camera then waits for a headshot (in the latter half, including a devoted ferret), animal activists will go berserk (not to mention skinning the carcass), the bestiality simmering underneath all the veneer and guises is appalling and guns does facilitate the trigger-happy group.

Voice-over and close-ups are two frequent instruments punctiliously deployed here, the alternatively intensive and exotic score is a obliging company with the film's well-controlled rhythm, the cast is fittingly in working order, and Gutierrez Caba's fresh handsomeness is the vestigial innocence left among adulthood, at least we can still have faith until it gets tainted by the consumption of the malignancy, envy, opportunism and discrimination, I hope Saura agrees with me this time.

Although I own practically half of his filmography, I have only watched three Carlos Saura (whom I saw in the flesh at the 2012 European Film Awards which were held over here in Malta!) movies so far – WEEPING FOR A BANDIT (1964; featuring a cameo from Luis Buñuel), ANTONIETA (1982; co-written by Jean-Claude Carrière) and BUÑUEL AND KING SOLOMON'S TABLE (2001); however, being aware that it was going to be Saura's 82nd birthday presently, I decided it was high time I watched a handful more. The film under review – a slow-burning but powerful anti-Fascist allegory that is all the more remarkable for being made under Spanish dictator Franco's regime! – is the one which made his name, having won him (among others) the Best Director prize at that year's Berlin Film Festival.

The plot deals with three Spanish Civil War veterans who return – after many years and with a younger relative – to their old battleground (a skeleton of one Loyalist is proudly exhibited in a nearby shed) ostensibly to hunt rabbits but, during the course of the hot, tedious day spent in alcoholic consumption and hidden agendas, old wounds and prejudices are fatally rekindled. Acting as their trapper and cook are the crippled poacher (of the landowner in the group) and his adolescent niece: their 'disdainful' status is reflected in the disease that is already decimating the rabbit population and the landowner taking on a much younger mistress after his wife left him. From the small, uniformly fine cast, award-winning Jose' Maria Prado (a familiar face from several Art-house and Euro-Cult movies) – playing the envious, trigger-happy, Sci-Fi nut of the group is a particular stand-out.

Being an animal lover, I was wary that the obligatory hunting and trapping sequences were going to be the whole show here: luckily, it was not the case but when these do come on (gleefully participated in by the landowner's black dog and ironically set to light-headed Spanish pop ditties blasting from a portable radio), they are certainly harrowing to watch: a ferret violently taunts a cowering rabbit in his hole out into the open where the hunters lie in wait for it; the same dutiful ferret is soon deliberately dispatched by the self-made businessman of the group; and, most memorably, a rabbit defiantly stops its flight for a few seconds amid a hail of bullets before being blasted off in a cloud of fur and dust.