It is easy to understand why some creators are attracted to the film noir genre. After all, with its darkness, shadows, deceiving women, tough guys, and all the other elements, make for a satisfying time at the movies. "La senal", on the other hand, fails to create the allure one feels about dramas such as the one depicted in this Argentine film.
The main curiosity for taking a look, was to watch Ricardo Darin, a fine cinema actor, making his debut as co-director with Martin Hodara, who worked with the late Fabian Bielinski in his two pictures. The movie was adapted, and in fact it's dedicated to, Eduardo Mignogna, in whose novel it is based. Not having read the book, we have no idea as to how close the film follows the text in which is based.
Corvolan, is a sort of private eye, working with a partner, Santana, and whose work involve tailing husbands who are having extra marital affairs, and that sort of investigation. When Gloria comes to see Corvolan with a special assignment, he feels curious as to her motives, but decides to take the case. As Corvolan begins to investigate, a sort of Pandora's box opens to unmask political, as well as criminal figures involved in racketeering and extortion. Corvolan gets much more than what he expected and his liaison with Gloria will prove to be a fatal mistake on his part.
It is made clear the year is 1952. The figure of a dying Eva Peron looms behind everything. There are two references in the narrative about her. It all seem superfluous to the story at hand. Mr. Darin and his co-director, have gone for atmosphere rather than substance. Mr. Darin is seen in constant close-ups that don't add much to the viewer's enjoyment; it is almost narcissistic on the part of Ricardo Darin to want to keep the camera on himself most of the time without any satisfying results. Gloria as played by Julieta Diaz doesn't have enough sensuality; she fails to convince she's a femme fatale. Only Diego Peretti, in a straight role fares better in the film.
One could blame the inexperience of the star of the movie as it must have been a trying time for him to be stretching himself in front, and behind the camera. One can only wish the actor well and best luck for his next project, and perhaps allow others to direct him objectively in future appearances.
The main curiosity for taking a look, was to watch Ricardo Darin, a fine cinema actor, making his debut as co-director with Martin Hodara, who worked with the late Fabian Bielinski in his two pictures. The movie was adapted, and in fact it's dedicated to, Eduardo Mignogna, in whose novel it is based. Not having read the book, we have no idea as to how close the film follows the text in which is based.
Corvolan, is a sort of private eye, working with a partner, Santana, and whose work involve tailing husbands who are having extra marital affairs, and that sort of investigation. When Gloria comes to see Corvolan with a special assignment, he feels curious as to her motives, but decides to take the case. As Corvolan begins to investigate, a sort of Pandora's box opens to unmask political, as well as criminal figures involved in racketeering and extortion. Corvolan gets much more than what he expected and his liaison with Gloria will prove to be a fatal mistake on his part.
It is made clear the year is 1952. The figure of a dying Eva Peron looms behind everything. There are two references in the narrative about her. It all seem superfluous to the story at hand. Mr. Darin and his co-director, have gone for atmosphere rather than substance. Mr. Darin is seen in constant close-ups that don't add much to the viewer's enjoyment; it is almost narcissistic on the part of Ricardo Darin to want to keep the camera on himself most of the time without any satisfying results. Gloria as played by Julieta Diaz doesn't have enough sensuality; she fails to convince she's a femme fatale. Only Diego Peretti, in a straight role fares better in the film.
One could blame the inexperience of the star of the movie as it must have been a trying time for him to be stretching himself in front, and behind the camera. One can only wish the actor well and best luck for his next project, and perhaps allow others to direct him objectively in future appearances.