CRIA CUERVOS
Spain, 1976, 97 Minutes, Colour.
Ana Torrent, Geraldine Chaplin, Monica Randall, Florinda Chico.
Directed by Carlos Saura.
Cria Cuervos is an excellent study of childhood memories of an introvert girl. It is well worth seeing for the superb portrayal by Ana Torrent with the elusive face and eyes and by Geraldine Chaplin (wife of the film's director Carlos Saura) who plays the ailing but loving mother and Anna as a grown woman remembering her childhood. Ana literally re-lives her memories in a succession of poignant vignettes which focus on the pain and the awareness of death that can form a child. Recommended.
1. The waning of the title, the aphorism, the application to Ana? Indication of themes? The cruel overtones and their implications for the study of this little girl?
2. As an example of the Spanish film industry, quality of production, of atmosphere, acting? Reflecting the last year of General Franco's administration, the oppressed Spain of the time, the film as a reaction with political overtones?
3. The importance of colour, city locations, the importance of the house? The outside scenes in park and countryside? The range of musical commentary, classical, piano style, the verve of the modern song and the times in which it was played? A pervading, brooding atmosphere of memory, resentment? Lightened by childhood at times?
4. The complexities of the structure and audience involvement and understanding? Which was the present? Ana as a girl, as grown? The contrast with Ana in the present making her comments? Ana as a child not only remembering but actually living her memories? The importance of the narrative and the description of what was happening and what had happened? The means for the audience of interpreting the character, the events and their significance? The presentation of memory not only as flashback but as something lived in? The changing of the faces of the maid into that of the mother for example? The dynamic power of memory? The importance of memories of the past which still live in the present? How comfortable was the inter-flow between past and present? Audiences identifying with Ana and identifying her experiences?
5. The skill of Ana Torrent and her interpretation of the young Ana? Her ability to look and just be pensive? Her bonds with her mother? Her reflecting on what was going on? What actually did happen in the past?
6. Her subjective memories and her actually walking around as a child in her memories? Her subjective and objective attitudes towards her father? His work, his womanising, especially at his death? His flirting as in the picnic in the countryside? His treatment of his wife? His death and the significance of Ana's washing the glass? What really was her father like? What did she really feel about him?
7. Her subjective objective impressions of her mother? Pianist, young, her marriage, her love for her, her combing her hair, her loving treatment of her children, the vivid impression of her illness and especially its pain? What really did Ana think and feel about her mother?
8. The importance of the maid and her continued presence, a mother figure, combing her hair, showing her breasts, learning from the maid?
9. The presence of her aunt after her mother's death, her aunt's taking her mother's place and not being able to? The subjective objective impressions of the aunt? A kind woman, but not understood, the hostility even to killing her aunt? The ominous presence of the preparation of the glass of milk and the aunt's drinking it? The aunt at a loss how to cope and her trying to explain herself to the children and to Ana? How well delineated was the character of the aunt and her trying to look after the children?
10. The portrait of Ana's parents' friends, the friend from the military, Amalia and her sensuality, her being present with her father at his death, in the countryside, the various sequences at their home? Ana's attitude towards Amalia?
11. The other children and Ana's relationship with them, closeness, distance?
12. The importance of the older Ana and Geraldine Chaplin playing two parts? Ana being the image of her mother? Or did she remember her mother in her own likeness? The significance of her narrative, interpretation of what had happened, presentation of a mood by the simple close-up and the contrast with what was happening?
13. What did we learn about Ana as a child? What did we learn about childhood? The details of her life, the sequences of love, her aloneness, her fear? Her imagination, eg. as imagining to fly? Tenderness? Death? The causing of death? Her aunt and the possibility of hostility? Neglect? The vividness of particular scenes and the way they last in the memory? Lasting in the audience memory as they did in Ana's, the sequence where the children mime the parents and their scolding, scenes of play, the countryside, meals, getting dressed, school etc.?
14. How much wisdom in this presentation of human nature, understanding the blacker side of childhood, the depths of feeling that mould the adult character?
