I was totally
enthralled by Victor Erice’s Spirit of the
beehive. For reasons that are
plentiful, while watching Cria cuervos,
I imagined that it must be directed by Erice, too. But it is Carlos Saura who
made it. Both films share a mysteriousness with which they approach the world
of a child – a mysteriousness never even coming close to the cliché about
children’s fairy-tale-like perception. Instead, the sense of mystery has to do
with a world that, for the child, is barely comprehensible and is, in its lack
of intelligibility, traumatic. These films delve in murky waters, attending to
insecurity, eeriness and dissonance. And artistically, they have much in common
as well, working with an almost painterly sense of composition of the image,
where much of what is going on is half-hidden, half-obscured. A third link is
the actress who plays the young main character of both movies, a puzzled
outsider kid – the great Ana Torrent.
Ana grows up with
her two sisters. After both her mom and dad have died, their aunt takes care of
them in a gloomy house they also share with a housekeeper and a silent
grandmother. The aunt treats the kids with a cold rigidity; she is stern, but
somehow well-meaning, and strangely fragile. The sisters tend to each other,
listening to music, just being. In several memorable scenes, we see Ana and her
sisters listen to a proto-disco tune, a tune that is both catchy and strangely insistent.
In another scene, we see them play dead, then coming back to life again, Ana
being the person who commands and re-enacts traumatic scenes.
The death of the
father is seen in the dramatic beginning of the film, when we see him having
sex with some woman (that is not his wife) – and dying. Ana, an enigmatic
child, feels guilt about the death of her mother. The film plays out as a
dreamy tension between scenes that depict the mother, the sisters’ mundane life
and Ana as a grown-up whose past is still present in her life as a menacing
shadow (this is emphasized also by the fact that the adult Ana is played by the
same actress who plays her mother). The perspective could be called ‘subjective’
– it is Ana’s experiences, her fantasies, her feelings we share. But at the
same time the film treats the other characters as persons in their own right.
The dynamic between the people in the film is never clarified – it is only
shown in suggestive scenes, in which we can only guess at what is going on, and
what it means. The same could be said about the sense of fear and guilt. The film
is like a question: what was it all about? This question has a glimmer of hope
in it, as a bewildered, staggering process of healing and recovery.
The film has often
been read as a comment upon the last days on the Franco regime. These hints are
obvious, especially with regard to the fact that Ana’s father is a general. There
are plenty of ghosts that haunt this movie, and Franco is definitively one of ‘em.
The film's paradoxical hopeful sense of foreboding is remarkable.