After murdering his girlfriend, Amador (Maurice Ronet) leaves Madrid, where he lived with his aunt (María Luisa Ponte), and goes to Guadalajara with his wife Julita (Yelena Samarina) and child. But, as he does not support them, he goes to Torremolinos, where he is involved in an incident with a foreigner young woman (Elsa Zabala). There he will also meet a girl (Amparo Soler Leal) from Madrid, but things go wrong.
Based on his own story and a script written in collaboration con Angelino Fons, Manuel López Yubero and Jacques Lagneau; Francisco Regueiro draws with some skill the portrait of a peculiar murderer of women in the harsh Spain of the mid-sixties. The film achieves a certain interest, thanks above all to the unusual and effective work of the famous French actor Maurice Ronet. The latter agreed to interpret the film on condition that the producer Alfredo Matas financed him the offfbeat movie "La vida es magnifica (Life is Magnificent 1965)" afterwards, his only experience as a director. Amador (1965) loses its style due to its slow and unhurried pace and due to an excessive use of the voice-over of the main character. Made after a long struggle with censorship, which prohibits different versions of the storyline until the religious and erotic charge disappears, the result is not what it could have been if the original version had been shot, but compared to other Regueiro films, it does not stray far from the director's peculiar personal intentions.
In the film, some unusual phrases stand out (such as the one in which the character who says: tuberculosis is a disease that greatly benefits the physique), as well as a peculiar vision of Torremolinos at the beginning of the great tourist avalanche that would follow. Among the incongruities produced by the dubbing, it is worth mentioning the brief scene between Maurice Ronet, dubbed by José Maria Prada, and Jose Maria Prado himself, playing a friend of Amador. Along with Maurice Ronet , a great role for Amparo Soler Leal - who married producer Alfredo Matas- playing a naive single woman who falls into the trap of the unscrupulous Amador. Remaining support cast is frankly good with full of prestigious secondaries with long careers , such as : Yelena Samarina, María Luisa Ponte, Elsa Zabaa, José María Prada, Xan das Bolas , Valentín Tornos, María Elena Flores, María Asquerino, Margarita Lozano.
Highlights the evocative and brilliant cinematography in black and white by Francisco Sempere considered to be one of the best Spanish cameramen, making several national and international productions, such as: No profanar el sueño de los muertos (Let Sleeping Corpses Lie 1974), Los desesperados (A Bullet for Sandoval 1969), Operación embajada, Adiós Gringo, El Vikingo, Don Quijote cabalga de nuevo, La Cicatrices, Hipnosis, among others. As well as the musical score by Daniel White, Jesús Franco's regular.
The motion picture was professionally and unevenly directed by Francisco Regueiro, in fact he relies on excessive dialogues and the starring's inner thoughts without much sense. Regueiro is a cartoonist, painter, scriptwriter and director who has written scripts for film and television and for other directors. Francisco Regueiro was born in 1934 in Valladolid, Castilla y León, Spain. He is a writer and director, known for Padre nuestro (1985), Madregilda (1993) and El buen amor (1963). He belonged to New Spanish Cinema with El buen Amor¨(63) , and Amador¨(65) that was strongly censored . The great producer Elias Querejeta produced him some films like ¨Si Volvemos a Vernos¨, and ¨Carta de amor de un asesino¨. After that, he made documentary , television drama as ¨Cuentos y Leyendas : La niña que se hizo en rata¨. Later on , he made the flop ¨Me enveneno de azules¨. Shortly after, producer José Frade financed him ¨Duerme, duerme mi amor¨and ¨Las Bodas de Blanca¨, but both of them failed at the boxoffice. Then, he leaves the filmmaking for painting for 10 years. Although, thanks to Law Pilar Miro returns direction with a trilogy and his film Madregilda (1993). Amador rating: 6/10. Acceptable and passable but no notable.
