Los sueños humedos de Patricia / Влажные сны Патриции
Год производства: 1981 г. Страна: Испания Жанр: Feature, Classic, Drama Продолжительность: 01:19:38 Язык: Испанский
Режиссер: Ignacio F. Iquino Студия: Ignacio Ferrés Iquino (IFISA)
В ролях: With Concha [García] Valero (Patrizia), Jaime Bascu (Javier), Christine [Berna] (Lola), Joaquín Gómez [Bujalance] (Julio), Mery Saliner (??), May Moreno (??), Miguel Estévez (René), Alejo del Peral (Angry man), Montse[rrat] Miralles (Angry woman)
Описание: Iquino’s short-lived parting with the softcore genre in the form of atavistic comedies harking back to his forties output may have brought the director no money but, at the same time, it did not constitute a mere inconsequential parenthesis. When he embarked on his second series of softcore movies, more prolifically than before, a great deal of his vaudeville-screwball comedy preoccupations overspilled into these films, acting as convenient links for the sex stuff. Los sueños húmedos de Patrizia (Patrizia’s wet dreams) is, furthermore, a white telephone comedy, to the self-conscious extent, at one point, of showing Concha Valero literally holding one such artefact in her hands – and an old-fashioned between-the-wars model in case we hadn’t caught the analogy. The world portrayed, for all the sexual permissiveness, is an archaic one, in which maids wear the old-style headgear and apron, and there is a strong sense of class distinction, except that here the villain is upwardly mobile and the heroine finally happily chooses move downward in the same scale, at least in terms of the company she prefers to keep. Most puzzlingly, although the setting is Spanish (Barcelona and Sitges) the spelling of the name Patrizia is not, just as in La caliente niña Juliet(t)a, where the first phoneme of that woman’s name was pronounced with a French “j” (admittedly compatible with Catalan phonetics) and there was a leading character named Pierre. Back in the Franco days, whenever infidelity was involved, the safest bet, censorship-wise, was to set the action abroad. In these 80s Iquino films, with these procedures no longer necessary, the filmmaker seemed to use such foreignisms as a mere stylistic mannerism, as if he wanted to nostalgically recall the period in his career he had recently sought to recapture in his recent, but floppy, Paco Morán comedies.
