Singularidades y rupturas del cine criminal español: ‘Los ojos dejan huellas’ (1952), de José Luis Sáenz de Heredia
Abstract
El cine criminal español está punteado de películas singulares que lo dotan de particular idiosincrasia. Como ejemplo relevante de esa tendencia, la película Los ojos dejan huellas, de José Luis Sáenz de Heredia, representa un caso de enorme interés. Si en líneas generales se ajusta con eficacia a los cánones impuestos por el género, también es cierto que incorpora rasgos de originalidad de gran riqueza significante. Y en ellos radica su singularidad. Entre dichos rasgos destacan la hibridación genérica habida en el argumento, la ambigüedad de las situaciones que se suceden en la trama, la turbiedad moral y compleja psicología que exhiben los personajes, poco usuales en el cine criminal español coetáneo, y el desdoblamiento funcional que ellos representan en la reproducción de los arquetipos genéricos. Al respecto, y no es detalle menor, es reseñable el papel secundario que la trama adjudica a la policía. Asimismo, la película incorpora el hecho turístico al argumento, lo que adelanta una tendencia que se generalizaría en el cine español de las décadas siguientes. Detalles todos ellos que demuestran la capacidad del filme para anticipar algunas claves del cine criminal español posterior. Singularities and Ruptures of Spanish Criminal Cinema: ‘The Eyes Leave Traces’ (1952), José Luis Sáenz de Heredia The Spanish criminal cinema contains unique films that endow it with great originality. A relevant example of this trend is the film The Eyes Leave Traces by José Luis Sáenz de Heredia, which represents a case of enormous interest. In general terms, it is effectively adjusted to the fees imposed by gender, but it is also true that it incorporates features of originality of great significant value. And in those traits lies its great singularity. Among these features, the generic hybridity of the argument stands out; also, the ambiguity of the situations that happen in the plot; the moral turmoil and complex psychology that the characters exhibit, unusual in contemporary Spanish criminal cinema, and the functional unfolding that they represent in the reproduction of generic archetypes. In this regard, and it is not a minor detail, the secondary role that the plot gives to the police is noteworthy. In addition, the film incorporates the tourist fact into the plot, advancing a trend that would become generalized in the Spanish cinema of the following decades. Details all of them that demonstrate the capacity of the film to anticipate some keys of the later Spanish criminal cinema.Downloads
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