I have to say that "Mi Primer Pecado" (My First Sin) has to be the most annoying "coming of age" movies I've ever seen. If it was intended to successfully emulate the much superior 1971 film "Summer of '42", it failed miserably.
First of all, virtually throughout the entire film the young actor, Corro Martin Summers maintains an annoying, despondent facial expression (just as is shown on the VCR video box) regardless of who he is with or what he is doing--even when he finds himself in bed with Cristina, his dream fantasy woman who is ten years his senior. One wonders why the casting director could not have found a more competent and believable actor than Summers.
Only Curro's cohort pals manage to enliven the atmosphere somewhat with their juvenile pranks but nevertheless they cannot rescue this turkey by any means.
Beatriz Galbo who plays the prostitute Cristina is quite pretty, but the notion that she would actually become attracted to a clumsy, continually sullen-faced teenage boy like Curro is stretching the viewer's suspension of disbelief to the limit, to say the least.
Continuity and plot holes abound, particularly the scene where Cristina and her roommate (played by Maria Hevia) hustle the Corro into the Madrid nightclub where Cristina is employed as a dancer, past the previously vigilant, uniformed doorman-bouncer and where neither the barman nor any of the adult customers in the crowded place seem to care or even notice that the kid is clearly underage as well as ignoring the fact that he is being plied with cigarettes and booze to the point where he passes out in the men's room. No club manager ever shows up to put a stop to all of this the nonsense, either, so you wonder how long it will be before that nightclub will lose its licence or be shut down completely by allowing entry to minors--or are Madrid's nightclub regulations truly that lax?
The scene where Curro, having passed out from being unable to handle the liquor, is then carried unconscious out of the club laughingly by both Cristina and her roommate to their apartment where they undress him and leave him lying on Cristina's bed, etc., is patently ridiculous. Who would actually do this? You would think these women would realize the kind of trouble they'd potentially be getting into? Why not simply shove Curro into a taxi and tell the driver to take him home to his parents. But, of course, that would ruin the fantasy.
Actually, Curro grated on my nerves so much throughout that I could not possibly root for him to bed Cristina--which I can only assume was the intended purpose of the film. However, the end-credits were already rolling before any such hoped-for "consummation" was to be revealed onscreen.
At least "Summer of '42" was perfectly clear about that.
First of all, virtually throughout the entire film the young actor, Corro Martin Summers maintains an annoying, despondent facial expression (just as is shown on the VCR video box) regardless of who he is with or what he is doing--even when he finds himself in bed with Cristina, his dream fantasy woman who is ten years his senior. One wonders why the casting director could not have found a more competent and believable actor than Summers.
Only Curro's cohort pals manage to enliven the atmosphere somewhat with their juvenile pranks but nevertheless they cannot rescue this turkey by any means.
Beatriz Galbo who plays the prostitute Cristina is quite pretty, but the notion that she would actually become attracted to a clumsy, continually sullen-faced teenage boy like Curro is stretching the viewer's suspension of disbelief to the limit, to say the least.
Continuity and plot holes abound, particularly the scene where Cristina and her roommate (played by Maria Hevia) hustle the Corro into the Madrid nightclub where Cristina is employed as a dancer, past the previously vigilant, uniformed doorman-bouncer and where neither the barman nor any of the adult customers in the crowded place seem to care or even notice that the kid is clearly underage as well as ignoring the fact that he is being plied with cigarettes and booze to the point where he passes out in the men's room. No club manager ever shows up to put a stop to all of this the nonsense, either, so you wonder how long it will be before that nightclub will lose its licence or be shut down completely by allowing entry to minors--or are Madrid's nightclub regulations truly that lax?
The scene where Curro, having passed out from being unable to handle the liquor, is then carried unconscious out of the club laughingly by both Cristina and her roommate to their apartment where they undress him and leave him lying on Cristina's bed, etc., is patently ridiculous. Who would actually do this? You would think these women would realize the kind of trouble they'd potentially be getting into? Why not simply shove Curro into a taxi and tell the driver to take him home to his parents. But, of course, that would ruin the fantasy.
Actually, Curro grated on my nerves so much throughout that I could not possibly root for him to bed Cristina--which I can only assume was the intended purpose of the film. However, the end-credits were already rolling before any such hoped-for "consummation" was to be revealed onscreen.
At least "Summer of '42" was perfectly clear about that.
