In Cold Blood (1959 film) - A sangre fría (película de 1959)
|Title||Trap at dawn|
|Photography||Sebastián Perera (B&N)|
|Mounting||Maria Rosa Ester|
|Scenography||Juan Alberto Soler|
|Protagonists|| Arturo Fernández |
|See all credits ( IMDb )|
|Data and numbers|
|Producer|| It's Filania |
Marked Paths (1957)
A Stranger Returns (1961)
| File on IMDb |
File on FilmAffinity
|Miguel Angel Gil||Antonio|
|Aurelio Pardo||assistant inspector|
|Jose Dacosta||Don Carlos|
|Estanis González||Enrique's brother-in-law|
It tells the story of a group that commits a robbery and its members end up being chased by the police and fighting among themselves.
Carlos is an ambitious young man and plans a robbery at the textile factory where he had worked. To do this, he breaks with his life until the present and comes into contact with a gang of robbers.
The robbery goes well, but one of the company's workers dies. The police will follow the track and the robbers, forced to flee together, will begin to distrust each other for the possession of the loot.
"It is not a question here of a classic police cinema since the role of the agents is almost nil [...]. The police siege is not suffocating and the idea is floating in the air that they will self-destruct. " [ 1 ]F. Sánchez Barba
For the exterior filming, different locations in Barcelona were used, such as Guipúzcoa Street, San Martín de Provensals , Verneda , the port and its breakwater, Vía Augusta and Pelayo Street . [ 2 ] The interior scenes were shot at the IFISA studios located on the Barcelona Parallel .
The fact that Germán Lorente was officially listed as an adapter was, according to Bosch, "so that he had some copyright," but the true paternity of the plot and the script belongs to the director. [ 5 ]
In 1967, the film underwent a legal name change to Dawn Trap . He had to release the American film of the same title ( In Cold Blood , by Richard Brooks ) based on the novel by Truman Capote and the distributor wanted to respect the title of this for publicity reasons, but Juan Bosch had registered the title to his name.
«What was the solution? Well, Warner bought the Spanish film from the producers, destroyed the negative and the copies and the way was clear. But there was still a loose end: the title was still registered in my name. The producers told me a story according to which if I signed some papers that they had prepared, they would make a global sale abroad and that would represent a lot of money for me. Everything they told me sounded false, and I even felt a bit sorry for them, because they were two people that I nevertheless had affection for. " [ 6 ]Joan Bosch i Palau
Bosch signed and never heard from it again.
The film's great interest lies in the excellent work of the director, already highlighted by most of the critics at the time: "I wish everyone could master the cinematographic language like Juan Bosch" ( National Solidarity ); «He is a man who knows how to express himself in images. He knows how to roll and he knows how to ride. He knows how to create rhythm and knows how to take advantage of the foreground. ( Magazine ); «Technically masterful» ( Diario de Barcelona ). [ 7 ]
- Sánchez Barba, F .: Brumas ... , p. 351.
- Espelt, R .: Criminal fiction ... , p. 319
- Espelt, R .: Criminal fiction ... , p. 265.
- Sánchez Barba, F .: Brumas ... , p. 349.
- Comas, A .: Joan Bosch ... , p. 49. (In Catalan).
- Cited by Comas, A .: Joan Bosch ... , p. 56. (In Catalan).
- Quoted by Espelt, R .: Criminal fiction ... , p. 215
- COMAS, Ángel: Joan Bosch. Cinema and life , pgs. 49-56. Cossetània Edicions, Valls, 2006. (In Catalan ). ISBN 978-84-9791-180-1
- ESPELT, Ramon: Criminal fiction in Barcelona (1950-1963) , pgs. 214-216. Ed. Laertes, Barcelona, 1998. (In Catalan). ISBN 84-7584-358-1
- SÁNCHEZ BARBA, Francesc; Mists of the Franco regime. The rise of Spanish black cinema (1950-1965) , pgs. 348-352. Publications and Editions of the University of Barcelona, Barcelona, 2007. ISBN 978-84-475-3174-5