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Con alma y vida 1970
Description:
Released: 01 Oct 1970 Director: David José Kohon Writers: Norberto Aroldi, David José Kohon, Carlos Malatesta (story) Actors: María Aurelia Bisutti, Norberto Aroldi, José María Langlais, David Llewelyn Genres: Comedy
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Con alma y vida Reviews:

Kohon's first movie in color is both a continuation and a departure. Like the director's previous films, this is a storyline of marginal characters (specifically, of a boy and a woman), but in terms of genre, it is an example of movie noir, in contrast to the urban realism of _Breve cielo_ (1969) and _Prisioneros de una noche_ (1960).El Flaco (Norberto Aroldi), a thief, and Vilma (María Aurelia Bisutti), a prostitute, share a tiny apartment in Buenos Aires. Their bond is powerful and complicated. One day, on a whim, they steal a vehicle and race another vehicles, stopping once to rob a rich old lady of an expensive brooch she is wearing. El Flaco and Vilma end up in prison, but she later gets out. Gustavo (José María Langlais), a rich architect she once helped has bailed her out, but of course, he expects something in return. While el Flaco serves time, Vilma realizes she has moved from one form of confinement to another. Both of them long for their lost freedom, and for every other.Aroldi and Bisutti are nice as reckless, self-destructive lovers. Bisutti gave a memorable performance as a good, respectable woman in _Los de la mesa 10_ (Simón Feldman, 1960), and she is equally convincing here as a girl of the night. Vilma may well be what Delia, Ana María Picchio's hero in _Breve cielo_, eventually becomes._Con alma y vida_ is more ambitious than Kohon's previous films. It details vehicle chases and shootouts, and the setting switches at one mission from Buenos Aires to Punta del Este, Uruguay. The result, however, is not entirely satisfactory. The movie is marred by melodrama, and there are even low spots in the script. The hero of Gustavo, for instance, disappears in the middle of the film. Finally, the film is commercial and follows category conventions, two things that the "generación del 60" (to which Kohon belonged) shunned, as it espoused artistic freedom.It seems that with _Con alma y vida_ Kohon was trying something different. Fortunately, he would then abandon movie noir and search a various and much more interesting approach. Seven years would pass before he made his next film, _¿Qué es el otoño?_, but this one was worth the wait. _Con alma y vida_ is not a terrible film, and it's definitely Kohon, but it is in _Breve cielo_ and in _Tres veces Ana_ (1961) that one sees this director at his best.



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