Embrujo de Shanghai, El (2002)

Director:

Fernando Trueba

Writers:

Juan Marsé (novel)
Fernando Trueba (writer)

Release Date:

12 April 2002 (Spain)

Genre:

Drama | Mystery

Plot:

A fourteen year old lad discovers his first love at the point of his pencil whilst drawing the portrait...

Plot Keywords:

Barcelona Spain | Madman | War Of Spain | Period Drama | Based On Novel

Awards:

3 wins & 4 nominations

Cast

Fernando Tielve	...	Dani
Aida Folch	...	Susana
Ariadna Gil	...	Anita / Chen
Fernando Fernán Gómez	...	Capt. Blay
Eduard Fernández	...	Forcat
Antonio Resines	...	Kim
Rosa Maria Sardà	...	Betibú
Jorge Sanz	...	Denis
Juan José Ballesta	...	Finito Chacón
Cristina Dilla	...	Madre Dani
Joan Borràs	...	Dr. Barjau
Götz Otto	...	Omar
Ferran Rañé	...	Fascista
Philippe Beglia	...	Lambert
Féodor Atkine	...	Michel Levy

Also Known As:

Sortilège de Shanghai, Le (France)
The Shanghai Spell (International: English title)

Runtime:

119 min

Country:

UK | France | Spain

Language:

Spanish | Catalan

Color:

Black and White | Color (Eastmancolor)

Sound Mix:

Dolby Digital

Certification:

Australia:M | Spain:7 | UK:12A

Filming Locations:

Barcelona, Cataluña, Spain

Company:

Antena 3 Televisión

Trivia:

Was originally a Victor Erice project, but differences between him and producer Andrés Vicente Gómez ended up with his refusal to make the movie.

Movie Connections:

References Laura (1944)

The Road to Shanghai

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!