THE REALM/ EL REINO
Spain, 2018, 132 minutes, Colour
Antonio de la Torre, Monica Lopez, Josep Maria Pou, Barbara Lennie, Anna Wagener, Louisa Herrera. .
Directed by Roderigo Sorogoyen.
We usually use the word “realm� in terms of kingdoms or some specialised, even rarefied, area. Realm is the English translation of the Spanish El Reino which might be considered as Kingdom. However, there is practically nothing regal in this story of contemporary Spanish politics.
This is a film which has won many awards, especially in its native Spain.
For audiences of political dramas, this is something of a must. It opens with a man standing on the beach, talking into his mobile phone, then rapidly walking into what turns out to be a kitchen and a restaurant, the camera following him as he moves with quick strides, a single take. In fact, throughout the rather lengthy running time, the central character, Manuel (Antonio de la Torre) is continually on the move, again, the camera frequently following him.
The opening is jovial, A leisurely meal, members of a political party gather together chatting, celebrating – but with hints of difficulties ahead. In fact, this is a story of financial and political corruption beginning during the 1990s. Manuel is at the centre of the corruption but the tentacles go out from him to the chief leaders of his political party. All the business has been recorded in some “literal� black books. And all very secret. And, those in the know, are sworn to secrecy.
In the early part of the film, Manuel’s character is established, his relationship with a supportive wife and daughter, his living the high luxury life, the intricacies of his links with other members of the party, the beginnings of exposure and the prospect of legal action.
We are introduced to a gallery of political practitioners rather than politicians. They might have had ideals when they begin their careers but that time has long gone. What happens in the present is a succession of confrontations, challenges, rivalries, jealousies.
This is certainly a tangled web and the audience has to pay close attention as to who is who and who is doing what to whoever…
When it is clear that Manuel will be going to trial, he begins a series of manoeuvres, growing ever more desperate, to save himself, at the expense of others, and retrieving the black books.
This makes for intriguing action and drama – and a sudden car crash filmed inside the car.
The final minutes are unexpected, Manuel making his way to a television station for an interview about what has happened. In fact, the frantic pace slows in some way even if Manuel himself is frantic. The action draws to a close with some harsh statements, challenging questions – not just for Manuel himself but also for us, the audience (and, probably, the audience thinking of the politics in their own country and the role of contemporary politicians…).
1. The title, the tone? Kingdom?’ specific realm?
2. The Spanish story, contemporary? The number of awards?
3. Spain, from the 1990s, politics, business, society, relationships, corruption? The film offering comment, critique, expose?
4. The locations, the opening on the beach, the resort, homes, offices, the open roads, the visit to Andorra? The musical score?
5. The pace of the film, the tracking camera, Manuel on the move, the camera following him? The opening long sequence and tracking Manuel well from the beach to the dinner in the restaurant? The tone?
6. The introduction to Manuel, tracking him, his being on the phone, with the group, their chat, colleagues, political connections? The visit to the toilet, the boss, the discussion of plans, leadership? Deals, secrecy?
7. Manuel and his wife, and daughter, love for them? His wife’s support? The glimpse of them in the high life on the yacht?
8. The film and the range of colleagues, audiences identifying who was who? The interconnections and plots? Promotions? Political implications? Characters, their talk, secrecy, trust or not?
9. Manuel and his being called before the head, her sternness? During the meeting, later in private, her power over Manuel, his power over her? Her collaboration with Roderigo, his being tough, ambitious, rectitude, Manuel trying to tempt him?
10. The meeting with the journalist, his deference to her for the interview, their past clashes? The later encounter on the television interview?
11. The background of the deals, the secrecy, business, international? Personalities, trips and visits? The links? The information, the news getting to the public and the media, the consequences? Manuel and the law, the discussions with his lawyer, strategies? The discussions with the superior, the change of lawyer, using his old friend?
12. The variety of meetings, Manuel and his plans, confrontations, playing people off the other?
13. Admitting the truth to his wife, his daughter, sending them to Canada, restricted contact with them?
14. Manuel, presence in court, the prosecutor, the issue of bail? His dismissing his lawyer, taking up his friend? The friend and the strategies?
15. The background of accidental deaths?
16. The decision to go to Andorra, going to the house, the young people and their party, saying that he had a mission, breaking down the door, the locks, the reaction of the young people, his hold over them because of their behaviour, the drugs, the girl and her father’s not knowing about the party?
17. Searching the room, finding the black books with all the documentation? Manuel and his going to the superior, covering himself, the threat of exposure?
18. The dramatic choice for the finale, the television studios, the interview, the government ownership of the television and the links, the previous relationship with the interviewer, Manuel standing his ground, challenging her, her turning off the producer’s voice? Her questions, her continued challenge?
19. The sudden ending, and the audience supplying the answer that it thought right – and whether this would happen in reality?
