El cochecito: La vetturetta

José Isbert is a widower and disregarded by his family. He has his friends, all of whom have wheelchairs of various sorts, and Isbert can't keep up with them. He takes it into his head that he wants a wheelchair himself, and not just any wheelchair, but a motorized one that will let him get around easily.

It has two stories to tell: one is the lack of regard people hold their elders in, and that is heartrending. The other is Isbert's child-like and childish insistence on getting his own way no matter the consequences. Isbert's performance is very real, and very telling, but the two stories are in conflict; to sympathize with him is to make the social commentary telling, but Isbert's performance reduces that impact; and so the performance of Pedro Porcel as his son and financial mainstay of the family remains emotionally uncaring but practical.

If you like dark comedies, this is a fine film to watch. Some of the nuances may be lost to those that , have not experienced Spanish society/culture first hand, specifically during the Franco regime. The element of selfishness runs through very clearly - the young(er) treating the old as necessary nuisances, the old trying to squeeze the last few drops from life. Funny but dark.

(1960) El cochecito/ The Little Coach (In Spanish with English subtitles) DRAMA

Based on the novel by Rafael Azcona co-written and directed by Marco Ferreri that has already retiree, Don Anselmo Proharán (José Isbert) visiting his best friend, Don Lucas (Jose A. Lepe) as he is unable to walk or a paraplegic is being carried onto an electric wheelchair scooter as both had a plan to visit a cemetery. While he goes and takes the cab, his friend Lucas uses his scooter. And then after the memorial is over Don Anselmo then has problems coming home as their is no cab in sight. It was at this point Lucas offers him a lift home by letting him stand onto a passenger stepping stand installed behind it. As soon as many of Don Anselmo's friends all have motorized electric scooters for the paraplegic he then turns it onto an obsession to own one himself, even though he physically does not need it because he can walk on his own. It goes so far he will even lie and clash with family members such like his oldest son, Carlos Proharán (Pedro Porcel) who works in law and operates from his own apartment complex.

In this day and age, if someone wants something so badly, he or she should be allowed to have it. It does not usually result to the way this movie had ended, which may me the only thing I did not like about it. As I had heard and read many stories about how children harass their parents so much as many of them wanted to own their own their first Iphone since some feel left out because their peers happen to own one. The only difference here is that Don Anselmo is already a grown adult, and he should not be dictated by family members what he should and should not have himself, for if he wanted to sell his former wife's possessions, he should be allowed to do so. This kind of leaves the question what was Don Anselmo's oldest son, Carlos saving for if he did not want any of the money going to the motorized scooter! And if Don Anselmo was retired then he should also be collecting a pension, where was that money going toward if it was not going to him! If it was not for actor José Isbert's likable persona and the director to make him sympathetic to his situation this film might not have been watchable!

"El cochecito" ("The Little Coach" in English) is the first Marco Ferreri movie that I've ever seen. And it's certainly a good one. Ferreri was Italian, but this black comedy is Spanish-made, focusing on an elderly handicapped Madrilenian and his acquaintances. This is one of the only looks that I've had directly into Franco-era Spain (although little if anything focuses on Franco's rule). The protagonist feels ostracized by society, but has some surprises in store for everyone.

So, I don't know if I would call this a great movie. I got the feeling that the content, which did in fact have trouble with the censors, may have influenced Pedro Almodovar. But that's just conjecture, so don't quote me. Either way, a pretty good movie.

Only the fusion of two genius -the director Marco Ferreri and the script writer Rafael Azcona- could have created this magnificent movie. If we add to this duet the acting of Pepe Isbert (possibly one of the best Spanish actors ever) the combination could not have been better. This is a dark movie about characters usually scorned by the society. Characters normally separated by the rest just because they are old or handicapped. All this tension developed between this two poles of the society ends in a brutal and nonsense murder. This chapter of the movie was censored by the Franco´s regime who could not bear such brutality. In any case the result is a dark movie who lets us see how were the darker years of the Spanish recent history.