Cría cuervos...

Like almost everyone i found this movie extraordinary touching and beautiful when i first saw it. I watched it several times and i realized something, it's really about Spain under Franco's dictatorship. Every character is a metaphor of Spain , the beautiful mother killed, cheated on by her military husband, the collaborating auntie who tries to educate the children, the old mute grand mother, who only wants to remember the old days (the republic) etc... every line in the movie can be heard in a completely different. The young rebel Ana is a true symbol of the spanish youth who can't stand anymore the military oppression, and who wanna be free to see the outside world (the song is reggae !). and the final scene with the hope of a new era coming (when the kids are arriving at school as a new year is beginning) is the reflection of what was about to happen in Spain (Franco died the same year). Anyway, whether you want to see its political message or not, it's just a wonderful movie, one of my favorite.

This film is such a splendid experience that it's difficult to really describe objectively why. The plot, the characters are revealed at a perfect tempo, keeping the audience engrossed and anticipating what's next. Any film with such sparse dialogue needs to make the rare lines worthwhile, and Saura certainly does, probably learning from Erice, the master of indispensable dialogue. Ana Torrent invites all sorts of Erice comparisons, but I see Saura taking a step beyond him here visually.

"Beehive" was a landmark film, and unlike anything that had been made. But the camera maintained the same distance and the story was fundamentally allegorical. Saura experiments with distance, sometimes following the characters closely, sometimes giving an omniscient birds eye view of the area. Sometimes remaining a mere witness to what's happening. It's very carefully calculated to best enhance the scene and keep these extraordinary events within the realm of possibility.

If there's such a film as a director's film, this is it. Although it is certainly worthwhile for the performances as well.

5 out of 5 - Essential

What a wonderful movie! Saura has succeeded showing us the inside of childhood. One has to be a great artist to be able to reflect the true feelings of a child thrown in the turmoil of life. Little Ana's eyes are a world of suffering, of understanding, of emotions. This child has seen death, she has known it directly and she has no fear. Either to experience it or to give it or to see it. Thank you Mr Saura, after 23 years, you still give us these great moments of life.

Sensational film that dispenses a brooding plot and considered to be one of the best Spanish films , in fact was voted one of the best Spaniard film by professionals and critics in 1996 Spanish cinema centenary . Well directed film by Carlos Saura , including his own story and screenplay , who tried to create an enjoyable flick plenty of symbolism and metaphor by tackling a description about a particular family formed by three little girls , their stiff aunt and grandmother . This slow-moving and intelligent picture is well set in Spain of the 70s , in Madrid, the orphan sisters Ana , Irene, and Maite (Ana Torrent ,Conchita Perez , Maite Blasco) are raised by their spinster aunt (Monica Randall), after dieing their mother by a painful illness , and living together their silent and wheelchair-bounded grandmother . Melancholic Ana is traumatized after viewing death of her daddy (Hector Alterio ) in bed and painful disappearance her mum (Geraldine Chaplin who married Carlos Saura) , and she drifts into her own fantasy world . The fragile , single little Anna dreams of meeting her mom and she is obsessed by death .

Sensitive film full of feeling , haunting mood-pieces , wonderful images and sense of wonder . However , it turns out to be some claustrophobic , being mostly filmed at a Madrid mansion and brief outdoor scenes in Quintanar, Segovia, Castilla y León . This extraordinary flick spells through intricate patterns of frames , sets , sound and color . The title in Spanish stems from the phrase "Raise ravens and they'll pluck out your eyes" , the equivalent phrase in English would be "you reap what you sow". This film was notorious in the years of the Franco's downfall dictatorship including provoking and polemic issues and played by known and prestigious actors as Geraldine Chaplin , Monica Randall and Hector Alterio . In addition , a magnificent support cast such as German Cobos , Mirta Miller and special mention to Florinda Chico as a likable servant . His style is pretty much dry in the atmosphere as in the fresh dialog , as well as realistic , and including fantastic elements as when appears the ghost mother . ¨Cria Cuervos¨ is one of Saura's undisputed masterpieces and fundamental in his filmography where shows efficiently some peculiar characters and shot at the height of his creativity, in a period cultural difficult, where the enormous censorship of the political regime exacerbated the ingenuity and imagination of the scriptwriters . Splendid , luxurious photography with juicy atmosphere by Teo Escamilla who along with Luis Cuadrado are considered to be two of the best Spanish cameramen , both of whom worked for Saura . Interesting screenplay by the same director based on a original story . Moving and emotive musical score by Federico Mompou and of course the unforgettable theme song "Porque Te Vas" sung by Jeanette that was an enormous European hit , and appealed even to people who didn't understand Spanish language . This touching picture will appeal to Spanish films buffs ; being deservedly nominated for Golden Globe , and another 8 wins & 3 nominations . Rating : Top-notch and outstanding movie , worthwhile seeing .

The motion picture perfectly produced by magnificent producer Elias Querejeta was stunningly directed by Carlos Saura , a good Spanish movies director. He began working in cinema in 1959 when he filmed ¨Los Golfos ¨(1962) dealing with juvenile delinquency from a sociological point of view . He subsequently made LLanto por Un Bandido (1964) starred by an European all-star-cast . Saura is a well recognized filmmaker both nationally and internationally, and in proof of it he won many prizes among which there are the following ones: Silver Bear in Festival of Berlin for Peppermint Frappé (1967) and the successful La Caza (1966) that also won numerous prizes in International Festivals and in which four characters facing each other and terminating into a jarring burst of violence . Saura achieved Special Jury Awards in Cannes for La Prima Angélica (1974), in 1973, and for Cría Cuervos (1976), in 1975. Also, the film Mamá Cumple Cien Años (1979) got an Oscar nomination in 1979 as the best foreign film, and it also won the Special Jury Award at the San Sebastian Festival. He subsequently made ¨Deprisa , Deprisa¨ based on facts about juvenile delinquency in Spain since the 80s , as he tried to take a position in favour of outcast people and he got to make a both lyric and documentary-style cinema . In 1990, he won two Goya , The Spanish Oscar , as best adapted screenplay writer and best director . Saura became an expert on Iberian musical adaptations as ¨Carmen , Amor Brujo , Bodas De Sangre , Sevillanas , Iberia , Salome , Fado, Flamenco ¨ and even recently Opera as ¨Io , Don Giovanni¨

A perfect sister film to one of my absolute favorites, Spirit of the Beehive. It also stars Ana Torrent and has similar themes. And I like it probably as much. Torrent, three years older but looking pretty much the same, plays the middle child of three girls. At the beginning of the film, their father has just died. Their mother (played by Geraldine Chaplin) died a while back. The film is told through the mind of Ana, who is still mourning her mother, and she often sees her. It can be confusing at the beginning. Chaplin also appears as the adult Ana, who narrates some of her thoughts, or possibly as what Ana believes she will become. This is very ambiguous. The girls' aunt Paulina is now taking care of them. The duty was kind of forced upon her and, while she's trying her hardest, it's taking its toll. She's stern and not well liked by the girls, especially Ana. There isn't much plot, per se, and what little there is shouldn't be ruined. We often see Ana's imagination and memories come to life. We see her witness fights between her parents. Later on, she reenacts them with her sisters. The film is about what children observe, how they interpret it and how they act on those interpretations. The film also has political ramifications, subtle ones that are pretty difficult to grasp. The title is the beginning of a Spanish proverb that goes: "Raise ravens, and they'll tear out your eyes." Like Spirit of the Beehive, the film depicts a child experimenting with her own cruelty and violence. Supposedly this is all a criticism of the Fascist government (Franco had just died by this point, so his regime was just on its way out). It's a very dense and fascinating movie. You'd probably still be swimming through its mysteries on a hundredth viewing. If you thought possibly that Ana Torrent was not acting in Spirit of the Beehive, this will set you straight. Her blank, soulful expression is here in full force, of course, but here you see the slightest smile creep across her face, and you can just tell exactly what she's thinking. I'm afraid I've done an awful job reviewing Cría Cuervos. I haven't expressed how touching it is when dealing with Ana's loneliness (there's a scene where she dreams that her mother pops into her bedroom to tell her a story that's just heartbreaking), or how it often straddles dark comedy, like the scenes between Ana and the maid. I think that difficulty in reviewing it shows just how layered and confounding the film is. It shoots right up my favorites list. It's easily the best film I've seen all year. Bravo to Criterion for bringing this one to DVD. Hope they also get to Saura's La Caza sometime in the future.