800 Bullets (2002)

Alex de la Iglesia is probably one of SPain's finest filmmakers. An artist that can deliver such masterpieces as El dia de la bestia is really worth following. Here he derails with a tale the takes too long to unfold nd takes the spectator nowhere. Alex major problem lies always with the scripting of his films. Hs first film spent half of its footage presenting us a group of characters that were then killed so that the story could go in a different different direction. Same mistake here. The story starts and evolves then stops and then starts again in a different direction, etc. We are never heading in a concrete direction. The filmmaker gets lost among all the characters and their troubles never deciding which route to take. He is a good craftsman, and the film is above average in the technical department, still it's pretty boring, unusually so for a De La Iglesia comedy.

Julian Tottalba is a former movie stuntman who now lives and works with likeminded colleagues in the live action theme park re-enacting the movie version of the old west daily for bemused and bored tourists. By day it is perhaps scripted and routine but after hours the world is real and colourful. However the theme park and Julian's world is threatened by commercial forces but his life is given a sudden boost by the arrival of a young boy looking to get to know his estranged father.I saw this typically flamboyant and colourful film in Argentina without any real preconception about what it was about or like and I must confess that at first it really had me won over despite me struggling with the language and cultural barriers that someone from a small rural country would have when viewing this. It was rowdy, it was fun and it was larger than life and I found that quite energising and entertaining. However this is not a short film and those qualities could only get me so far. The longer it went on, the more the flamboyance started to turn to unnecessary excess and become a bit too silly for its own good. As the story went on, themes came out that were interesting but they were not as well handled as I would have liked because of the impact of the overall approach. I think specifically of the conclusion of the film as well as the sexual coming-of-age elements which were a strange thing to watch the way it was delivered.As director in the regard of being colourful, it is hard to fault de la Iglesia as it looks great and has a lot of energy and style. Below the surface, I'm not totally convinced but perhaps this was me not "getting it". The cast are good because they mostly act within the overall colourful world of the film. Gracia is the obvious star but there are good turns from Lopez, Poncela, Castro and others. They don't really get to move outside of this aspect but this was an issue with the film rather than just their individual turns.Overall then a lively, colourful, funny and entertaining film but it needed more beyond this to sustain it. As a result it does feel a bit superficial and I felt it started to flag by the midpoint before picking up with an energetic conclusion.

Carlos a young, unbearable, spoiled, kid suddenly discovers some hidden secrets about his family. He never had a chance to meet his father but knows that his grandfather is a stuntman who worked in famous westerns many years ago, in those mythical times when the Americans were riding the earth in Almeria.His mother was guarding these secrets from him so on the first chance Carlos decides to explore the unknown part of his family, and escapes to a touristy place in the middle of nowhere called "Texas Hollywood" to meet his grand father. When his mother finds out she can't take it and she swears by all means necessary to destroy the Wild West village. But cowboys are not cowards and here is where the movie really kick's into overdrive.This is a phenomenal masterpiece homege to many spaghetti-western classics, it's a duel in-between reality and dream and it's definitely this director's most complete work. The visual side of the movie is nothing short of spectacular and it's a real shame that masters like Sergio Leone or John Ford could not witness it they would love it!The title comes from the main characters budget of being able to buy only 800 bullets to defend his village and his friend against the police.Characters are fascinating and memorable from the man who's hanged through the whole movie to the horse dragging stuntman cowboy, but the central figure is Julian (Sancho Garcia) in an epic role of a famous Clint Eastwood double.There are many brilliant moments and the movie from the opening scene is just a one of those rare movies which holds your attention all the way.This, the directors 6th movie is the most complete and probably most personal and confessional work. The pure imagination and all the ideas executed and transferred to the screen are nothing less than spectacular.Finally, like a viewer you don't need to like westerns, the movie is about courage, friendship, and very original humor. ALEX DE LA IGLESIA born 1965 in Bilbao is one of the leading Spanish directors present. Besides his recognizable style and brave projects DE LA IGLESIA has tested himself almost in every single movie genre. The only short which he directed "Mirindas Assesinas" was loved by Almodovar brothers which leaded to their collaboration on a hilarious mixture of science-fiction-parody "Action Mutante" (1992). After that a Spanish box office hit followed "El dia de la bestia" (1995), after which he picked up an abandoned project of Bigas Luna "Perdita Durango" (1997) which introduced to the world a great duet in-between Rosie Perez and Javier Bardem. After this he directed "Muertos de risa" (1999), and "La Comunidad" (2000) which was just recently distributed in UK. His sixth feature "800 Ballas" was nominated for 7 Goya's (Spanish Oscars) and features Alex de la Iglesia first time as a producer.Andreja Kmetovic.

Even if you aren't a fan of Sergio Leone's run of Western's shot in Spain on the cheap, you will still enjoy this movie. From the loving throwback title sequence to the obtuse Western camera angles to the heartfelt story of a boy connecting to his long lost grandfather, there is a lot to love in this picture. The standard Western archetypes are there but each one with a twist. Some aren't even known by names, simply by what they do in the Western re-enactment town. There is Hanged Man, Dragged Man (who is constantly being dragged by a rope behind a horse...it is his only trick, by golly, and he uses it for everything!) and the Sheriff and the Indians. Shootouts, pratfalls, drinkin', whorin', and by golly old fashioned quick draw shootouts. As an homage it is wonderful, from the claustrophobic close-ups, bird's eye angle on a dusty western street, Morricone-sounding music and Western bravado. As an homage to the love of film, it works as well. I will be surprised if it makes it to American shores uncut, though. There is a funny scene in it involving a prostitute and a young boy that is at once innocent and funny and oddly creepy. It is a funny scene, reminiscent of similar scenes in "Almost Famous" but in the US where the flash of a breast on TV causes seizures, it just won't pass the mustard. Which is too bad, because this is top film-making but what I am reading more and more as "the next Peter Jackson" or "next Robert Rodriquez." There are too few directors of that ilk, so give this one a try when it comes out on DVD or, if you are lucky, to the nearest art house cinema.