At times in the earlier parts of this film there is almost a `tv-series' feel to the story-line and the transitions from scene to scene, such that I got the impression of such ilk as `Al Salir de Clase' or something similar, but, obviously, better done and on a higher sphere. This feeling gave way as the film progressed, fortunately, more or less in parallel with the story becoming tenser, more dramatic.
Good performances here by both the leading ladies; Aitana is very good as the elder sister bent on protecting her teenage very much adolescent younger sister, played by Barbara Goenaga, an actress who up till now has escaped my attention. Ángela's protective feelings arise from their mother having abandoned them years before; now living with their elderly father, nicely balanced interpretation by Francesc Orella, the two sisters' personalities begin to clash: Laura wants to find their mother.
There is the lurking danger that the interpretations could have too easily gone over the top into that all-pervasive tremendism, so common to Spanish films. However, this could only be said, possibly, of Ms Sánchez-Gijón's playing in the later stages; but we must bear in mind that her protective instincts have become an obsession, and thus rules out - or at least ameliorates - any considerations of her acting being tremendistic. Mostly, the two actresses keep their performances under control, adding authenticity to the telling of the story.
It would have been nice to see Santiago Ramos in a larger rôle; after seeing his magnetically charming brilliant playing in `Como un Relámpago'(qv), it was a little disappointing to see him in this minor part. But this is only a personal preference which does not detract at all from the film itself.
`Mi Dulce' is also a portrait of suburban life today, especially among adolescents surviving the daily battles at high school, and as such should not be too far off concepts for viewers from other countries. This sometimes happens with excellent Spanish films, like `Como un Relámpago', but especially so with the outstanding `Los Lunes al Sol' (qv). The uniquely Spanish behavioural touches are not thoroughly understood by viewers in other parts of the world, however good their Spanish may be.
For students of the Spanish language, the speakers here are mostly neutral, however there are a lot of slangish expressions - as used by young people today in modern Spain (oops, Catalonia in this case!) - which might make following some of the dialogues a little difficult.
Good performances here by both the leading ladies; Aitana is very good as the elder sister bent on protecting her teenage very much adolescent younger sister, played by Barbara Goenaga, an actress who up till now has escaped my attention. Ángela's protective feelings arise from their mother having abandoned them years before; now living with their elderly father, nicely balanced interpretation by Francesc Orella, the two sisters' personalities begin to clash: Laura wants to find their mother.
There is the lurking danger that the interpretations could have too easily gone over the top into that all-pervasive tremendism, so common to Spanish films. However, this could only be said, possibly, of Ms Sánchez-Gijón's playing in the later stages; but we must bear in mind that her protective instincts have become an obsession, and thus rules out - or at least ameliorates - any considerations of her acting being tremendistic. Mostly, the two actresses keep their performances under control, adding authenticity to the telling of the story.
It would have been nice to see Santiago Ramos in a larger rôle; after seeing his magnetically charming brilliant playing in `Como un Relámpago'(qv), it was a little disappointing to see him in this minor part. But this is only a personal preference which does not detract at all from the film itself.
`Mi Dulce' is also a portrait of suburban life today, especially among adolescents surviving the daily battles at high school, and as such should not be too far off concepts for viewers from other countries. This sometimes happens with excellent Spanish films, like `Como un Relámpago', but especially so with the outstanding `Los Lunes al Sol' (qv). The uniquely Spanish behavioural touches are not thoroughly understood by viewers in other parts of the world, however good their Spanish may be.
For students of the Spanish language, the speakers here are mostly neutral, however there are a lot of slangish expressions - as used by young people today in modern Spain (oops, Catalonia in this case!) - which might make following some of the dialogues a little difficult.
