800 balas

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.

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.

I rented this one on a hunch, not having watched any of director De La Iglesia's work, even if I had heard of him - if not the film in question.

I thought this was going to be an out-and-out Spaghetti Western update, and it looks like it at first, but the way it developed makes it original and even more interesting than I had imagined! It's frequently uproarious and displays a refreshing irreverence, especially in its use of foul language (which I found even funnier because it's so similar to our own); astoundingly, there are also sex scenes witnessed by, and almost involving, a minor! Deliberately paced and overlong, it ultimately emerges as an endearing, even infectious, spoof of Spaghetti Western film-making and the world of stunt-men (which to me, having been in Hollywood a little while back, has a special relevance). Recurring jokes like forgetting the hanged man once the shooting's over, a stuntman dedicated to making his fall from a roof-top as realistic as possible, and the front of a poor woman's house being demolished by a runaway van are very funny, and there's a hilarious funeral finale with a surprising appearance by "Clint Eastwood" (who, as everyone knows, became a household word in Italian Westerns filmed in Spain)!

The cast is largely made up of unknowns (except for Carmen Maura) but they enter enthusiastically into the tongue-in-cheek spirit of things, with Sancho Gracia's characterization being especially vivid (at times, even a moving one). Indeed, among the various in-jokes which crop up throughout the film is the mention of the Raquel Welch/Burt Reynolds Western 100 RIFLES (1969), a film in which Gracia really appeared!

I found "800 balas" to be a very entertaining film, if a little juvenile. The story follows a young boy in search of his grandfather. Carlos' (the young boy) father was a stunt man who died in an accident before Carlos was old enough to remember him. He goes in search of his grandfather to discover the true story his mother refuses to tell him.

Carlos finds his grandfather working in a Wild West tourist town where spaghetti westerns were once filmed. The exploits Carlos and his grandfather get into are entertaining and full of action, although fairly predictable. Carlos' grandfather is played by Sancho Gracia who is probably the highlight of the film. He very convincingly plays a depressed alcoholic who dreams of the old days when he was a stunt double for Clint Eastwood and other Hollywood stars, while also harboring guilt over the death of his son (Carlos' father).

Overall the films is good, but not great. The action sequences are very well thought out and the director's somewhat wild sense of humor fits in well with the overall tone of the film. In particular the ending sequence skillfully plays on suspense, action and humor to bring the film to a satisfying and sentimental conclusion. The location of the film in central Spain is very beautiful and the film does a good job of using the landscape and incorporating it into the story. The film is worth watching if only for its pure entertainment factor and for Sancho Gracia's superb performance.