Ay, Carmela!

The civil war is going on. Carmela, her husband Paulino and their mute helper Gustavete put on small shows behind the lines; songs, dancing and coarse jokes. The Republican soldiers love them. One night they take a wrong road, cross to the other side of the front and fall into the hands of the enemy. Instead of being shot they are given an offer: they will perform this evening, and in the performance they will mock the Republicans. There are officers in the hall, and in the back rows sit prisoners who will be shot tomorrow. Carlos Saura directs and adapted the script from a play by Jose Sanchis Sinisterra. Carmen Maura plays Carmela, Andres Pajares plays Paulino and Gabino Diego plays Gustavete. It is a Spanish and Italian co-production. The film won a number of Goya awards in Spain including best film and best director. The matter it treats is what is said on a stage; whether two people live depends on how they play the show. The film describes the war not at the front but through the wings and the stage. Carmen Maura plays the character as coarse, brave and indifferent to politics; her decision comes from anger rather than ideology. The narrative idealises neither side but does not hide who was shooting whom. The mute boy is the witness of the story and the ending turns on him. The ending breaks in a single scene. Its limit is context; some of the references stay closed to anyone who does not know the Spanish civil war. Who it is for: viewers who like Spanish cinema and wartime drama. Who it is not for: the subject is heavy, the pace slow, and the ending bitter.