El embrujo de Shanghai (2002) User Reviews

Acceptable drama , lavishly produced and impressive set design recreating city of Shanghai

[ma-cortes · 7/10 · 11 March 2013]

This is an enjoyable flick based on Juan Marse's novel , being set during and post Spanish Civil War . A very pleasant drama plenty of emotion , sensitive scenes , political intrigue about espionage , treason and mayhem . 1948 , Barcelona , Berrio De Gracia , a fourteen year old lad (Fernando Tielve) finds his first love at the point of his pencil whilst drawing the portrait of a sickly but coquettish fifteen-year-old-girl called Susana (Aida Folch) . There in the neighbourhood of Barcelona , an old freedom-fighter pits himself against his own records , a beautiful cinema-ticket woman (Ariadna Gil) takes to the streets at night and an old man named Captain Blay (Fernando Fernan Gomez) dedicates himself to tell strange tales . Far away, a hero of the Republic called Kim (Antonio Resines) is assigned by Levy (Feodor Atkine) to carry out a dangerous mission to kill a traitor (Gotz Otto) . As Kim must go to Shanghai , there he meets a gorgeous femme fatal (Ariadna Gil) with oriental eyes. Soon some problems start to arise when appears Forcat (Eduard Fernandez) who brings news about Kim .

This is an Award Winning picture by Fernando Trueba , the director of ¨Belle Epoque¨ , including a Spanish all-star-cast . Although it was originally a Victor Erice project, but differences between him and producer Andrés Vicente Gómez ended up with his refusal to make the movie . Drama in which reality and fiction become fused in an embrace . It deals with a historical background , including a coming-of-age tale , intrigue and thrills ; adding culture and politics . ¨Embrujo De Shanghai¨ results to be other of the innumerable stories to deal with deeds regarding Spanish Civil War , a familiar theme about the global horrors of a fratricide war , impossible to forget to our cinema . An agreeable story plenty of intense drama , amusing moments , moving feelings and tragic finale . It is a thought-provoking , wistful drama, easy to watch , and easier to love . It is as beautifully filmed as it is written and acted . This is one of those rare gems that does not stray from its purpose - to be a celebration of love and romance - and intelligent tale of two teens during a hectic time , being splendidly recreated . This is an interesting story that blends tragic elements , adventure , continuous flashbacks recreating an evocative Shanghai with breathtaking production design and many other things .

Director Fernando Trueba , also writes the interesting script based on the novel by Juan Marse , a notorious writer whose books have been continuously adapted such as Si Te Dicen Que Cai , Amante Bilingue , Largo Invierno , Lolita's Club , among others . Filmed in his usual formal and luxurious style , without leaving a trace the brooding themes , in terms of entertainment and narrative excitement . Unforgettable Fernando Fernan Gomez as old anarchist who lives locked-up and tells fantastic stories . Top-notch Ariadna Gil , she parades sexily at her best and more relaxed and enticing than ever . The hit of the show is undoubtedly for the fetching Ariadna who gives one of the best screen acting . Very good secondary cast formed by Spanish familiar faces such as Rosa Maria Sarda , Jorge Sanz , Eduardo Fernandez , Juan Jose Ballesta , Joan Borras , Feodor Atkine , Gotz Otto , Antonio Dechent and many others . Evocative as well as atmospheric musical score by Antoine Duhamel , Fernando Trueba , usual . In addition , a spotless pictorial cinematography by Jose Luis Lopez Linares and a willingness , almost perfect of the elements of each shot , every sequence , every space ; being filmed in Barcelona . The picture lavishly produced by great producer Andres Vicente Gomez and Cristina Huete results entertaining and well worth your time , though sometimes turns out to be slow moving . The film is deep , but never somber , no small accomplishment from Fernando Trueba and his team.

This intelligent , delightful motion picture was well directed by Fernando Trueba . His first success was Ópera Prima (1980) following the style of the "Madrid comedy". He had major success with Sé Infiel y No mires Quién (1985) also known as : Be Wanton and Tread No Shame , starting a longer collaboration with the producer Andrés Vicente Gómez . He went on directing numerous successes such as Coarse salt , Too Much , Milagro de Candeal , Year of Enlightment , The Girl of Your Dreams , Calle 54 , Embrujo De Shanghai , Chico and Rita . Trueba was President of the Spanish Academy of Motion Picture Arts and he received the 1994 Oscar for Best Foreign Film to Belle Epoque (1992) . His last film was ¨ The Artist and the model¨ again with Aida Folch .

The Road to Shanghai

[jotix100 · 5/10 · 17 December 2002]

The only attraction with this film is Fernando Fernan Gomez. We might like, or might not like the film, but Fernan Gomez is always an interesting face to see in the Spanish Cinema.

Fernando Trueba displays a heavy hand in this film that tries to evoke the era in which the action happens. He decided to add a film within the film as is the Chinese black and white story that is told to a convalescing girl with tuberculosis by a shady character that one day appears out of nowhere to stay in her mother's apartment.

The black and white film is a distraction that doesn't add anything to the story and leaves things in limbo. Why didn't Trueba concentrate on the main characters? Why insert the Chinese story that is supposed to be a story that has nothing to do with the other one.? Mysteries of the Spanish cinema of today!

The Anita of Ariadna Gil is white trash. She's the object of desire among the men of the neighborhood. As the Chinese siren of the second story she's no Anna Sten exactly. Antonio Resines looks out of place as the wrong guy in the wrong place. Rosa Maria Sarda has nothing to do and better yet, a star like Jorge Sanz has only two scenes and frankly it doesn't add to the film at all.

Mr. Trueba take us back to a Belle Epoque, please!

An excellent cast gives us a satisfying period-piece story

[khatcher-2 · 8/10 · 20 April 2002]

Starting out from a novel by Juan Marsé, Catalonian novelist enjoying a certain popularity in Spain, Fernando Trueba has carried out a magnificent transposition for the screen, being responsible both for the dialogues and of course the directing of `El Embrujo de Shanghai'. Having already been responsible for films which have made their mark - `Belle Époque', `Two Much', `La Niña de Tus Ojos' (qv) and `Calle 54' (qv), being the most representative - it was to be expected, or at least hoped, that `El Embrujo de Shanghai' would continue the trend. Especially as the cast could hardly be better.

You will not be disappointed: with the new generation of Spanish directors producing some good work in the last twenty years or so, we can consider Trueba as one of those heading the list. He has a good eye and a steady hand for telling his stories, however varied they may be. Added to that, Ariadna Gil, who must by now be seriously considered as the most gifted actress in present-day Spanish film-making, takes on a double role in this film with perfect adaptability. Fernando Fernán Gómez is, as is to be expected in our most veteran actor now that Paco Rabal is no longer with us, just naturally wonderful in the role of an old discontent, fending off enemies like a metaphorical Quixote charging windmills. Rosá María Sardá is just right in her so exactly right Barcelonese part; both Eduard Fernández and Jorge Sanz carry out their jobs very well, though the latter has a relatively small, but important, part in the film. Antonio Resines plays a very sober and convincing role.

Full marks to Fernando Tielve as the fourteen year old through whose eyes the story is told; great playing by this youngster and captures the camera exceedingly well. Aida Folch as the sick fifteen year old, suffering tuberculosis, was mostly pretty good with just a couple of weak points, but on the whole her performance is not marred. Hope to see more of these youngsters as they grow up...

However, when Ariadna Gil is in a film it becomes a little difficult objectively focussing on anyone or anything else. Ever since `Belle Époque' passing through `Malena es un nombre de Tango' (qv), `Tranvía a la Malvarrosa', and the late Ricardo Franco's `Lágrimas Negras' (qv), among others, it should be apparent that this actress is capable of any role you may suggest: indeed, she is already known as the `actress for impossible parts'. Her tour de force is, perhaps, most notable in Ricardo Franco's film.

Antoine Duhamel's music is fine - as is to be expected now that he has worked with Trueba in a number of films since `Belle Époque'. Really worthy of mention are the excellent studio-built scenes, lending real authenticity to the lower class suburbs of Barcelona in 1949, in this case Gracia and its Plaza de Rovira, complete with a number 39 period-piece tram, and the various street scenes of Shanghai. José L. López Linares' photography lives up to the occasion and seems to enjoy lingering over some of the street scenes, such as Cinema posters and fruit stalls.

This is a good piece, well away from the run of the mill, painstakingly knitting together reality and fantasy, fusing them into one, and thus turns out satisfying intellectually as well as visually. Definitely well above a seven out of ten on my scale.

Another great story by Trueba

[LeRoyMarko · 8/10 · 4 March 2006]

Fernando Trueba knows how to tell a story. And more importantly for cinema lovers, he also knows how to make it visually compelling. The story might be a bit twisted, you might have a bit of difficulty to follow exactly what's going on, but the movie is still worth watching. The cast is superb. Fernando Fernán Gomez is great as the old captain who's more lucid than he appears to be. Ariadna Gil is sublime in her role. Both Fernando Tielve and Aida Folch are to be remembered, because I'm sure we'll see more of them in the future. Another thing I liked about this movie is the photography. Trueba makes good use of black and white and keeps shifting the screen format from one scene to the other. And I really liked the ending. See for yourself.

Seen at home, in Toronto, on March 4th, 2006.

82/100 (***)

Lolita, Quijote . a film within a tendency

[RResende · 27 December 2007]

This is something in the line of what Spanish cinema has been exploring in later years. This means i'm talking about a film with a well thought construction, in terms of narrative, inner references and symbolism. I've seen Trueba's Belle Epoque before this one, and i don't know the arc his career took the 10 years between that film and this one, but i wonder, even because of other Spanish recent creations, how deep is the influence of Medem's creations in the Spanish films. His first long form was Vacas in 1992, precisely the year of Belle Epoque, which was completely free of many of the concerns i watched on this film, so i'm inclined to trust that Medem is taking his (deserved) way in influencing Spanish creators (and not only Spanish).

So here we have a narrative basis based on the already seen film within a film. In this case it's almost literally a film since a story is told parallel to the main action, and we come to find out that story is not true, or at least, it may be displaced and distorted. This canonic structure exists exactly like this in Babenco's Kiss of the Spider Woman, so that one came to me as a direct influence to this one. But it is interesting to understand how the invented parallel reality here leaks (perhaps) to the main storyline. Checking: the woman of Shanghai comes to us viewers represented by the girl's mother actress; the fictitious story ends with that oriental woman being taken by the father of the girl. Forcat wears an oriental clothing which we see the girl's father wear in the invented story. May the film Forcat tells talk about the past of the relation of the girl's parents? i don't know, but i liked the ambiguity of when should we place the story, or if we should consider it at all (constructed realities, dream realities, invented realities, ambiguous time lines... Medem once more).

Now take the boy. He draws. In the beginning he claims he can't draw by heart, but than we see he makes his most important drawings by heart (the captain's and the girl's portraits). He draws the recently dead captain in a hurry, because he doesn't want the image to fade away, and he grabs the world by drawing it. The same way he destroys the girl's portrait to try and forget it.. He draws the world he wants to see, he bends the world through drawing, so he invents the dress, and imagines our Lolita naked.

We also have the old captain, who also invents the world he lives in, through reclusion. We see him the first time coming out of a closet, he creates his own character for himself, with spectacles that colour his world i direct his look. He is Quijote in the way he defines his enemies, and creates his goals. He introduces the boy to our Lolita. This is important.

The girl is closed. She understands the world through the stories she is told. Her world is what goes on in her bedroom. She has defined channels, and is clearly influenced by the "shanghai link" which is stronger because the characters in her life make the effort to link her to it. She lives on the films she is told. So in her case, films influence her life, more than her life influences the films. When Lolita's innocence is broken down, she ends selling tickets in a cinema theatre, and doesn't look at the client, the magic is gone. A last notice to the fact that the girl's father made a living out of distributing cinema projectors, her mother stills lives on exploring a theatre, but the film within the film shows her father falling asleep as he watches a film.

We have another ambiguous film, in finding out what is the true version in the death of Lolita's lover.

The boy ends the film in a nearly empty film room, crying over the innocence he also lost, and accepting the film that comes to him.

My opinion: 4/5

No Spell Here

[Chrysanthepop · 28 August 2010]

Trueba doesn't seem to make up his mind with 'El Embrujo de Shanghai'. Within the main story there's another one, a Chinese story that has nothing to do with the rest of the events (even though it's well shot and reminds one of the days of film noir). In the last half hour, when the last portion of the Chinese story ends, the main story takes a drastic turn that feels forced and out of sync. The writing lacks depth and development, as a result of which the performances suffer. Jorge Sanz, Rosa Maria Sardà and Fernando Fernán Gómez are wasted. Ariadna Gil's role is a caricature alcoholic mom. In terms of execution, with the exception of the Chinese subplot, everything else is ordinary. At times the lighting was irritating. Overall I enjoyed the film noir sequences and the scenes that involved Dani and his drawings. I had expected better from Fernando Trueba.