L'Esprit de la ruche

Like many of the other commentators here, I had heard about this movie long before I had ever had a chance to see it, although it typically is mentioned as one of Spain's greatest films. It definitely is. It is masterfully directed and I have not been able to stop thinking about it for days.

The story is elliptically told and demands your participation in making sense of the narrative, but it's also leisurely paced and allows you to breathe in the atmosphere rather than forcing a particular reading on you. One thing you wouldn't guess from reading the other comments is how this is as much a film about nature as about history--it is like a poem of the countryside in winter, with long vistas of stone farmhouses framed against the rising sun. The film with the most similar visual palette is Malick's "Days of Heaven", but that film feels simplistic compared to the full immersion in history and memory presented in this film--a much more complete vision of the past.

Ana Torrent is unforgettable. I can think of no better film about children, yet (as with so many other things in this movie) it doesn't feel forced--these kids aren't just the director's pawns, but real, living beings.

If you get a chance to see it, definitely make the effort.

Has a child performer given as pure and brilliant a performance as Ana Torrent did in Victor Erice's allegorical masterpiece? This film has everything going for it; great performances, a honey hued atmosphere courtesy of Luis Cuadrado's genius as a cinematographer, and subtle, dreamy direction by Mr. Erice. I had often heard many works described as "dreams" in particular Bergman's works ("The Silence," "Hour of the Wolf"). As far as I'm concerned, this film ranks right beside the works of the master. It is an intense and involving work of art, which beckons us to look at a violent world, through the eyes of the children populating the screen. Many images stand out; among them the girls jumping over a fire and Ana sitting next to the "monster." This film should be seen by anyone who appreciates brilliant cinema. It will not dissapoint you, I guarantee.

This is an enchanting movie about two young sisters caught in the silence of post-war Spain. While representing the isolation of Spain in that era and the lack of communication that persisted throughout the country, "El espíritu de la colmena," by Victor Erice in 1973, fascinated me with its use of dramatic chiaroscuro lightening, large panoramic shots and the use of fades to connect scenes while commenting on the time warp that Spain endured after the war.

Without using much dialogue in the movie, Erice artistically comments on the political tension in Spain through potent images and scenes. He uses symbols such as the two young sisters to represent the division between the Republican and Nationalist parties, and the leitmotif of the beehive to represent the "trapped" workers in Spain under Franco. The most amazing aspect is that all of the post-war commentary is said without any words and without mentioning the actual event! It is a "cine de espectáculo," or spectacle cinema, that symbolizes the connection between fantasy in the movies and fantasy in reality. Without knowing the history of Spain, a spectator could misinterpret the movie as a commentary about the imagination of a little girl after viewing the movie "Frankenstein." The character of Frankenstein is a main component contributing to Ana's, the younger sister, interpretation of reality in Spain, and it gains meaning as Frankenstein evolves from a character in the movie to an object of fantasy. It continues to evolve into a man of flesh and bones and finally represents the hope of Ana when all other sources of information in her life turn out to be faulty.

"El espíritu de la colmena" is a powerful movie that uses many metaphors (such as Ana for the young, innocent generation of Spain) to question the interpretation of reality. It is a powerful, artistically made movie that captivates the viewer through images rather than words. It should be seen more than once in order to understand all it's hidden messages.

What I am most affected each time I see Erice's this movie is his ability to convey the world of a child to us sometimes even without depending on the dialogues. Instead, he prefers creating a beautiful atmosphere and feelings by using the faces, looks, the light and the silence.

We can give an alternative name to this movie as "the spirit of the house", for the director tries to show what is going on in this house whose windows resemble to honeycombs. Erice deliberately chooses not to give any shots with all members of the family, as there is serious feeling of alienation between father and mother, and total lack of communication and affection between them, and from them towards their children. Under that situation the only person whom Ana could touch with her words, plays and questions is her sister Isabel. Their house looks like a beehive with the queen bee, male worker bee, and child bees performing their duties only by being in the same house without touching to each other.

When Ana's best friend and her sister played on her trust and fears by deceiving her, she totally turned inward and found the image and the dream of Frankenstein ready for her friendship and to give her feeling of closeness. After she met the wounded Republican soldier, her Frankenstein's image came into being in his existence, who is considered as dangerous and outside the society by adults just like in the original Frankenstein movie. Like the girl in the latter, Ana does not see the fugitive as how adults define Frankenstein, as something to be run away from. Instead, she considers him as Frankenstein who could be her friend. I see the shadow of the "monster" on this movie used beautifully and magically by the director.

During the 97 minutes of the movie, Erice and his cinematographer Luis Cuadrado both reflect the heart of a child to us with their magical scenes, and skillfully convey the grey feeling of the civil war in the background without straightforwardly pointing their fingers to it.

Erice's film about a young girl who sits through a screening of the l931 classic Frankenstein with her older sister moves slowly along but has some startling moments that unexpectedly bubble up. The girl (Ana Torrent) has a face that would melt anyone's heart and gives a terrific performance for a child (or anyone). The older sister (Isabel Telleria) also terrific, likes to lead her little sister along, and convinces her that Frankenstein exists in the here and now and can be easily found in an abandoned farm or by simply closing your eyes. The farm is a much more compelling setting and seeing the little girl alone there gives you the chills because you know one day someone might actually show up and while it probably won't be Frankenstein, it could be someone dangerous. Her inevitable disillusionment is dramatically presented when she runs away from her home. Her adventure takes the viewer along on a emotional ride especially when we see our little friend sitting down beside the toxic mushrooms that her father told her and her sister never to eat. Set in the seemingly endless Spanish countryside in 1940 and nicely filmed in color, it is a quiet little film with a big dramatic impact.