Death of a Cyclist (Muerte de un ciclista) (1958)
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Critic Reviews for Death of a Cyclist (Muerte de un ciclista)
[Transposes] the ugliness of power relations in a repressive society to the spheres of sex and gossip.
Imagine a Michelangelo Antonio drama of upper class disaffection by way of a film noir...
Explicitly designed as a shock to the system, Death of a Cyclist too often settles for academic subversion.
Audience Reviews for Death of a Cyclist (Muerte de un ciclista)
[font=Century Gothic]"Death of a Cyclist" starts with Juan(Alberto Closas) and Maria Jose(Lucia Bose) hitting a cyclist with a car Maria Jose was driving. Juan notices that he is still alive and wants to help but she persuades him to leave. She is married to a wealthy businessman, Miguel(Otello Toso), while Juan is the black sheep of his family, accomplishing nothing on his own, and only gaining his assistant professor position through the patronage of his brother-in-law. In class one day, he reads in the newspaper that the cyclist has died, interrupting a student's presentation. To make matters worse, a member of their social circle, Rafa(Carlos Casaravilla), has been insinuating to Maria Jose that he knows what happened...[/font] [font=Century Gothic][/font] [font=Century Gothic]"Death of a Cyclist" is a compelling drama that explodes out from a simple idea. The movie is well directed and edited, but loses some of its momentum in the second half by laying on its central theme of selfishness a little too thick. But the movie takes the theme of selfishness and uses it as a veiled criticism of the Franco regime which ruled Spain at the time. Remember, that the best govenment serves the people, the worst only concerned with its own interests.[/font]
[size=3][color=#004040][img]http://www.afi.com/silver/new/nowplaying/2007/v4i4/images/cyclist.jpg[/img][/color][/size] [img]http://www.bfi.org.uk/whatson/sites/bfi.org.uk.whatson/files/images/death_of_a_cyclist.jpg[/img] [size=3][color=#004040]Although he directed nearly twenty films between 1951 and 1997, Juan Antonio Bardem (1922-2002), was a Spanish screenwriter and film director best known for Death of a Cyclist (Muerte de un Ciclista) (1955) and as the uncle of actor Javier Bardem ([/color][/size][url="http://www.amazon.com/gp/product/B00118T63C/ref=cm_cr_asin_lnk/002-1594085-8055210"][size=3][color=#004040]No Country for Old Men[/color][/size][/url][size=3][color=#004040]). -[color=black]Amazon.com[/color][/color][/size] [size=3][color=#004040]When this film received the International Critics Award at Cannes, director Bardem was unable to accept the award as he was serving one of several prison sentences meted out by Francisco Franco's regime. [/color][color=#004040][color=black]- Janus Films[/color][/color][/size] [size=3]A wonderful film all the way around. Beautifully filmed, a timeless story and amazing actors. My only complaint - and it is a small one - is a few camera tricks that the director used to try and take us from one scene to the next didn't, imho, age that well. Besides this one flaw that last no more than a few seconds out of the entire film, I would rate this film 9 out of 10 stars.[/size] [b][size=3][i][u]TCM'S DEATH OF A CYCLIST REVIEW[/u][/i][/size][/b] [url="http://www.tcm.com/thismonth/article.jsp?cid=141992&mainArticleId=141976"]http://www.tcm.com/thismonth/article.jsp?cid=141992&mainArticleId=141976[/url] [size=3] [/size]
[url="http://www.spain-film-review.com"][size=4]SPAIN FILM REVIEW[/size] [/url]- Death of a Cyclist A lone cyclist is run over by a woman and her lover one day while driving on a highway. Rather than risk revealing their affair, María José (Lucia Bosé) and her companion, Juan (Alberto Closas), members of the Spanish elite, leave the man to die on the highway. Upon their return to their bourgeois lifestyles in Madrid, they just might have been able to bury their deed in their consciousness, if it weren’t for a single witness: Rafael Sandoval (Carlos Casaravilla). María José is filled with paranoia when Sandoval tells her at a party that he saw them on the highway, yet is tortured by uncertainty over just how much he knows. María José’s marriage to Miguel Castro, their status in society, and their potentially lucrative business dealings with the Americans could be put in jeopardy by Sandoval’s knowledge. María José is thus highly interested in finding out what Sandoval knows, and giving him what he wants to make him shut up. [img]http://www.spain-film-review.com/images/muerteciclista3sm.jpg[/img] Sandoval, a mediocre art critic, actually makes his living watching the sins of the upper class and blackmailing them at opportune moments, and María José and Juan are his latest victims. He takes advantage of the fact that their single concern is the image of piety rather than piety itself, as María José's husband warns: “An ugly act can ruin a family name.” As the culprits engage in a careful game to make sure their secret is kept, Sandoval acts as a sort of mirror for this group, reflecting their actions back at them and reminding them that they are “trashy, selfish pigs.”
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