Le Plafond de verre

I thought I was going to enjoy this much more, having very much enjoyed the same director's later, Cannibal Man, many years ago. I became slightly concerned during the credits when the camera repeatedly panned an outer building and it may have been my print, the dubbing or my lack of attention but I found this very slow and largely lacking in atmosphere. I'm assuming a low budget accounted for some of the darkness and repetitions for the characters are well formed and introduced well. We begin to get a good picture of a small community living in each others pockets and a smouldering sexuality between this one and that but as the main character begins to theorise her feeling that there has been a murder in the flat above, the fact that she is talking to her cat is not great. The ending is astonishing and if I had been more in touch with what was going on I would have enjoyed it all the more.

Well, given all I'd heard about this Spanish thriller, I have to say that I went into it expecting more. The only film I'd seen from director Eloy de la Iglesia prior to seeing this one was the Video Nasty Cannibal Man, which doubles up as one of the best films on the Video Nasty list, as well as a damn fine exploitation flick in its own right. This made my expectations rise, and since the plot works from a premise that certainly appeals to me (being a big fan of Giallo), I'm really, really disappointed with what I got. The film focuses on Martha; a lonely housewife who has been left alone in her apartment as her husband is away on one of his frequent business trips. Her upstairs neighbour is a woman named Julie, and she finds herself in a similar situation as her husband too is away a lot, and he happens to be away this time as well. Our lonely housewife soon begins to hear footsteps upstairs and after overhearing a few things, some true...some not quite true, she jumps to the conclusion that the upstairs neighbour has, in fact, killed her husband. Women, eh?

The film is disappointing because of the way that the director handles it. The plot pacing is very sluggish, and the film feels like it doesn't have quite enough plot to keep things interesting for the duration. The central location; an apartment block is good and well used, and Iglesia makes it work with the plot as it's creepy and gritty. The central plot thread is too thin to be stretched too much, and the director does implement several other plot threads into the mix to bulk things out. These aren't all that interesting, however, and since it never feels like the lead character is in any danger until the end, the film also lacks tension and suspense. The two central actresses; Carmen Sevilla and Patty Shepard do their best with what they have, and are a definite credit to the film, despite the awful dubbing on the copy I saw. There's a lack of anything resembling sleaze, which I think a plot line like this needs...although in fairness, I am more used to watching Italian thrillers. Overall, I'm sure there are elements here that people will enjoy - but I can't recommend The Glass Ceiling as I simply didn't find it interesting.

Another excellent offering from De La Iglesia, this is even more of a slow-burning thriller than THE CANNIBAL MAN (1972) but the scenario it conveys of place, characters and situations holds one's attention, even if there is a definite slackening during the last act (picking things up again with a stunning climax that not only marries the REAR WINDOW {1954}-inspired proceedings up to that point to a STRANGERS ON A TRAIN {1951}-type twist but also takes care to produce one additional ace for the finale!) and which now seems to be something of a directorial trait.

The GLASS CEILING, in fact, is confidently Hitchcockian but also presenting concerns that obviously interested the film-maker, such as what sort of mischief may be going on within the walls of a house (which, in this case, is amplified by making the central setting a condominium). However, the script merely uses fanciful conjecture as a means to an end, which is another character study of a lonely figure (here leading lady Carmen Sevilla, and for which performance she won the Cinema Writers Circle award) whose grip on reality is quickly fading (depicted via a notable dream sequence) and how the people she comes into contact with react to this (there is even a disturbing subtext, which one hopes is not quite true, of landowning studs and horny errand-boys preying on such abandoned wives!). Still, unlike THE CANNIBAL MAN, the protagonist is now a victim who soon finds that she cannot really trust anyone, not even family, preferring to keep company with her amiable white cat (which, unfortunately, comes to a sticky end).

Once again, the cast includes lovely Emma Cohen: at first, I thought she would have an even lesser role than in CANNIBAL, since her name is much further down the cast list this time around, but also because she plays the unflattering part of a farmer's daughter delivering milk to the various tenants – however, enamored of the landlord, she also frequently pays him visits at the condominium's back-yard, where he conducts his extracurricular activity of sculpting. Though he certainly does not discourage her attentions (even accepting to be fed – and playfully sprayed in – milk by her directly from a cow's teat!), the man really favors Sevilla (to the point of taking the latter horse-riding in order to alleviate her ennui), so that Cohen is cross when a sculpture he has made of her luscious body (voyeuristically caught by camera while the girl is sleeping in the nude, one more of the landlord's hobbies, which he also directs at Sevilla and another pivotal female character, thus linking the film to the remarkable "Cannibal" flick I watched at the very start of this "Halloween Challenge", WELCOME TO ARROW BEACH {1974}) actually sports SevIlla's head!

However, Cohen's character still vanishes from the proceedings well before the end – which serves to put at center-stage an attractive neighbor of Sevilla's, whom the latter suspects all through the picture of having committed foul play upon her invalid husband (whose body the heroine frantically suspects of being stashed either in the back-yard or the couple's own fridge!), even contriving to periodically check with the bus depot whether he was seen leaving town as his spouse claims.

The film takes place in a country building , where various tenants live . After her hubby (Fernando Cebrián) leaves the house for business issues , Marta (Carmen Sevilla) remains alone . She then hears rare noises above her and thinks about the woman called Julie (Patty Shepard) who lives there -also alone- has killed her own husband . Weird events happen and Marta begins investigating . There shows up Richard (Dean Selmier) , the bachelor landlord who dedicates himself his sculpture hobbies . There is also the ordinary depraved delivery young (Hugo Blanco) who delivers supermarket supplies for the tenants living there and the beautiful young girl Rosa (Emma Cohen) who falls for the allegedly down-to-earth Richard .

¨Glass ceiling¨ contains locked-room mysteries , eerie atmosphere , emotional thrills , suspense , brief nudism , and a little bit of gore . This is a highly mysterious and cerebral thriller , filled with plot twists , morbidity , disturbing scenes , including an unexpected denouement in its final part . Psychological mystery-thriller with Giallo and morbid elements , being surprisingly good and compellingly directed . It includes an enjoyable description about rural life including several farm animals , such as : Pigs, cows , dogs and horses , all of them are part of the background of this thrilling movie . The original as well entertaining premise , -in which Marta is left alone in the house and start occurring strange incidents- , is overspread across the movie adding some brief conventional pitfalls . This picture belongs to a quartet of peculiar thriller films by Eloy De La Iglesia dealing with ¨Love and Death¨ , they are the followings : ¨Semana Del Asesino or Cannibal Man¨ , ¨Una Gota Sangre Para Seguir Amando or Clockwork terror¨ and ¨Nadie Oyo Gritar or No One Heard the Scream ¨ , being written by Antonio Fos and Eloy De La Iglesia himself . The cast is frankly good formed by notorious Spanish actors playing characters who will become entangled in a complex spider's cobweb . Stars Carmen Sevilla as the solitary , anxious woman whose husband is out and while her imagination begins to work creating a dark and corrupt world , Carmen gives one of the best interpretations of her long career ; her neighbor who lives in the apartment above her is well played by Patty Shepard , and the sculptor who spends most of his time in his studio working on his sculptures was nicely performed by Dean Selmier . And a very nice support cast such as Fernando Cebrián , Encarna Paso , Rafael Hernández , Emma Cohen and Hugo Blanco as the perverted deliverer . Evocative cinematography by Francisco Fraile who creates an ugly environment and restless atmosphere . Fraile was a fine cameraman , working for the best filmmakers as Vicente Aranda , Leon Klimovsky and Eloy De La Iglesia . Being shot on location in Cubas de la Sagra, Madrid, and Piedralaves, Ávila, Castilla y León, Spain.

The motion picture was professional and strangely directed by Eloy De La Iglesia in his fourth film , though containing some flaws and gaps . The movie achieved some prizes such as : Cinema Writers Circle Awards, Spain 1971 Won CEC Award Best Actress : Carmen Sevilla , and Fotogramas de Plata 1972 Best Spanish Movie Performer : Carmen Sevilla . Eloy Iglesia studied cinema in Paris at the IDHEC . He began working in cinema in 1966 , though he became famous in the years of the Spanish transition to the democracy with provoking films . Drugs, delinquency , terrorism and generational problems are the common subjects in his films . Iglesia was a prolific writer/filmmaker , after directing 21 films in 20 years (1966/1986) he stopped due to drug addiction , a problem that he seemed to control it until his early death at 62 . De La Iglesia is a good Spanish movies director , he began working in cinema in 1966 , though he became notorious in the years of the Spanish transition to democracy with shocking and polemic films as ¨El Pico 1 and 2¨ , ¨El Diputado¨, ¨The priest , ¨Clockwork terror¨ , ¨Los Placeres Ocultos¨ , ¨The other bedroom¨, ¨La Semana Del Asesino¨ , and finally ¨Bulgarian lovers¨ , among others . And ¨Turn of a Screw¨ in which Eloy Iglesia gives an unexpected academic and charming version , abandoning his ordinary provocation . Homosexuality , perversion , classes differences are the habitual subjects in his films , and specially dedicated to the underworld of heroin ; as well as the gay world . Passing of time hasn't had no mercy with most of Eloy's movies , but they represent a time and a way of life in the history of Spain ; and now they may seem a little bit ingenious . Eloy De La Iglesia chose young and natural actors to play his films , such as Jose Luis Manzano , Antonio Flores , Pirri , or Quique San Francisco were the usual ones . Most of them early deceased by drugging , including the filmmaker himself . ¨Glass Ceiling¨ Rating : 6.5/10 . Well worth watching .

I actually would classify this as a Spanish giallo, even it doesn't slavishly imitate the stereotypical Italian model like some of the Paul Naschy efforts (i.e. "Seven Murders for Scotland Yard"). This film by Eloy de Inglesias and a couple films by the equally talented Spaniard Jose Maria Forque are superior to any of Naschy's attempts at a Spanish giallo and make for interesting variations on the standard giallo formula. Of course, this movie is also somewhat inspired by Hitchcocks's "Rear Window", the Hollywood paranoia classic "Gaslight", and the director's own "Week of the Killer" (released under the absurd and inappropriate English title "Cannibal Man").

Carmen Sevilla is an attractive wife living in an apartment building. After her husband leaves town on a business trip, she hears noises in the apartment above her and comes to believe the woman living there (Patty Shepherd) has murdered her own invalid husband. Adding to her suspicions, the woman keeps asking to put stuff in her fridge, even though her own fridge is clearly working, and someone is secretly feeding something to the landlord's dogs. Of course, there are other strange characters that might be involved, starting with the handsome bachelor landlord, who seems to another of the director's closeted gay protagonists since he rebuffs most of the beautiful women who throw themselves at him, but he also seems to have a stalker-ish thing for Sevilla's character. There's also a nubile young milkmaid (Emma Cohen)who keeps coming around with her jugs (and occasionally a few bottles of milk too).

It becomes increasingly unclear whether there really has been a murder, whether the protagonist is going crazy, or whether someone is trying to drive her crazy--and it might be more the one of these. The ending is different, although maybe a little too different for its own good. This movie doesn't seem to have quite the visual style of one of your better gialli (but it's kind of hard to tell given the substandard presentation of the bootleg I saw). It is generally a pretty effective film though, however, you want to categorize it.