800 balas

Alex De la Iglesia is an excellent Spanish director . He had much success such as "Accion Mutante" , " El Dia de la Bestia", "Perlita Durango" and ¨La Comunidad¨ , among others . Here deals with a homage to Spaghetti/Paella Western and other American Westerns shot in Spain . Julian Torralba/Sancho Gracia is an ex-movie stuntman living in Almeria . Julian and his colleagues once made a busy living in Spaghetti Westerns shot in Spain ; nowadays , they are reduced to do stunt-shows for small audiences on the decaying set built for those old Westerns . Here Sancho Gracia , who made several Westerns during the 60s and 70s , plays an old man who brings a village back to life , which the bad guys want to sell to speculators . Sancho Gracia , his friends and grandson must fight against the polices and baddies to obtain their purports . The final showdown between Sancho Gracia and Angel De Andrés López is overwhelming and exciting.

In the film there is comedy , tongue-in-cheek , humour , drama , noisy action , nudism , and results to be very entertaining . Filmmaker Alex De La Iglesia tries to pay tribute to Spaghetti Western , that's why he wished its main star , Clint Eastwood , to play himself as a cameo or special appearance , Alex even offered to move to Los Angeles to shot his part ; Clint , who was then working on the direction of ¨Blood work¨ (2002), was forced to turn down this sympathetic offer . Main cast is pretty good , such as Sancho Gracia , Carmen Maura and Angel Andrés López . Support cast is frankly enjoyable , including Alex De Iglesia's ordinary secondaries , such as : Manuel Tallafé , Eusebio Poncela , Enrique Martínez , Eduardo Gómez and the great Terele Pávez . Evocative production design shot on location in Desert of Tabernas , Almería , Andalucía , where during the sixties and early seventies lots of Spaghetti/Paella Westerns were filmed . Alex De La Iglesia's direction is rightly made , he called it as a ¨Western Marmitako¨ , it is a special food from Basque Country , where Alex was born . Besides , cinematography by Flavio Labiano is splendid and Roque Baños' musical score is breathtaking , though it imitates Ennio Morricone . Rating : 6.5/10 Good . Better than average . Well worth seeing .

In Madrid, the boy Carlos (Luis Castro) never gets satisfactory answers about the life and death of his father and also about the work of his grandfather and former stuntman Julián (Sancho Gracia) from his executive mother Laura (Carmen Maura) and from his grandmother Rocío (Terele Pavez). While traveling on vacation to a ski station, Carlos escapes from the group of students and travels alone to Texas-Hollywood in Almeria, Spain, to know Julián, who works with his colleagues making shows in the decadent set of the old Western for small groups of tourists and telling his participations in movies like "Patton" and mostly as the stunt of Clint Eastwood in Sergio Leone's trilogy "Per un Pugno di Dollari", "Per Qualche Dollaro in Più" and "Il Buono, il Brutto, il Cattivo". When the bitter Laura discovers that Carlos is visiting Julián, she decides to buy and destroy the studio using the place for a tourist resort. However, Julián buys eight hundred bullets to protect the village with his unemployed mates.

With "800 Balas", the cult director Álex de la Iglesia makes homage to those that made the desert film studios Texas-Hollywood in Almeria and to the end of the Spaghetti Western Era. The engaging dramatic comedy has great performances, well-developed characters and an unexpected tragic conclusion. I regret the absence of the cameo of the real Clint Eastwood, but Constantino Romero does a good job; and the corny change of decision of Laura in the end of the story, typically to give a commercial end to the great story. My vote is seven.

Title (Brazil): "800 Balas" ("800 Bullets")

I liked 800 Balas despite the sentimental pap; I think it proves that Iglesias has the heart and balls to make it big in Hollywood if he wants to. He has this ability to be so entertaining, accessible and deeply felt at the same time.

There were plenty of funny moments, romanticism (which tends to be simplistic and predictable at times) morality, "good and bad" characters,action, bright colors and suspense to give Steven Soderbergh a run for his money. At the same time, we get a healthy dose of ambiguous darkness, rich irony, black humor and ludicrous moments that tread the thin line between hysteria and nostalgia, morbidity and delight.

There are layers of amorphous innocence and celebration of sensuality in that scene where the kid, lying on the bed with the whore, learns a thing or two about female anatomy aided by a physical demonstration of squeezing her boobs. (For an odd, whimsical and yet strangely dark kid-confronted-with-ripe-overwhelming-sexuality scene, check out THE TIN DRUM where the protagonist buries his face on their house help's "bush".)

That scene where the kid tries to enter the abandoned film set to reach his granddad and somehow evades the notice of EVERYONE AROUND HIM, steeped in chaos, fright, awe and exhilaration as they all were - -- that is just tautly controlled and beautifully executed. The colors are so vivid and ethereal and it's great seeing around two hundred of these film extras acting their hearts out for their 3 seconds of fame, to be grazed by the camera's tracking shot.

Like the mythical, legendary granddad aiming for authenticity and grandeur, Iglesias strives for plenty of big moments.

But I guess that in the end, all the "hero" ever really wanted was to be loved; and if we can't admire this movie for its glorification of machismo-addled brotherhood and glaring, obvious contrasts and metaphors, we may just love its shameless and profound respect for history, psychological and blood ties, dreams, life, and humanity.

The 12 year-old Carlos fools his rich corporate mom (who thinks he's on a skiing trip) and goes lookin' for his grandfather, an alcoholic stuntman who worked with Sergio Leone and Eastwood in the 60's. The grandfather and other boozehounds do daily Western shows for German and Japanese tourists, every nite they're out whoring and partying and they take Carlos with'em. Carlos's mom (Almodovar's regular Carmen Maura) hates her dad and wants to close down the shows in the Western town, but then the 'cowboys' band together and defend their lives and town, this time with REAL bullets instead of blanks. "800 Bullets" is a wildly entertaining 'light' comedy loaded with Iglesia's brand of anarchic humor. Since this film isn't that violent (compared to his other films) and if the sex and nudity was removed, "800 Bullets" could pass a feel-good-comedy-for-the-family! Joe Dante meets Fellini? It's not his best and its way too long at 121 mins, the silly and serious antics are an uneven mix, but "800 Bullets" is a must for fans of Iglesia. Most outrageous scene: 12 year-old Carlos' cheerful sexual debut with a hooker and her bouncing boobies!?! Only in Spain! I miss Iglesia-regular Santiago "Torrente" Segura though, he'd have been perfect as a scummy drunken cowboy.

OK, let's get this clear first: seasoned veterans of the genre might be disappointed by the tribute aspect of 800 Balas. The only spag references are to Leone's films, Clint Eastwood and his poncho. Add to that a score that resembles Morricone, great opening credits in the colourful spag tradition, and excellent cinematography (wide shots and close-ups included) and that's as far as it goes.

However it's tons of fun. Although not as outrageous as other De La Iglesias efforts like Accion Mutante, El Dia de La Bestia or Perdita Durango, it still has all the trademarks that made him famous. Black humour, quirky dialogues, energetic pace, fluid camera shots, excellent performances, it's creative and above all entertaining. Sancho Gracia steals scenes and was an original spaghetti western actor himself.

Watch it for a great opening scene that (suprisingly enough) is a tribute to John Wayne's Stagecoach, a saloon orgy, a hooker seducing a minor, a spectacular shootout between a SWAT team and spaghetti western stuntmen, the Hanged Man (first screenshot), the Dragged Man (who is constantly being dragged by a rope behind a horse...it is his only trick) and a cameo by a faux-Clint Eastwood.