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La edad de la peseta 2006
Description: The "edad de la peseta" or silly age is the term used in Cuba for the pre-adolescent period from the age of seven to the age of eleven. Set in 1958 in Havana, the year that culminates the Revolution, ten-year-old Samuel has just arrived in city with his recently divorced mother. They take up residence in the house of his eccentric grandmother Violeta, and Samuel is introduced to a new, mysterious globe where Samuel finds himself an adult in comparison to his child-like mother.
Released: 28 Dec 2007 Director: Pavel Giroud Writers: Arturo Infante Actors: Mercedes Sampietro, Iván Carreira, Susana Tejera, José Ángel Egido Genres: Drama
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La edad de la peseta Reviews:

Edad dela Peseta or "silly age" is the term used in Cuba for the pre-adolescent period from the age of seven to the age of eleven. Giroud's stylish, assured period study of this awkward time takes him back to the very moment of the revolution of Fidel Castro, to 1958. The entire movie is a bit tongue in cheek. Samuel (Iván Carreira) is ten. He's so sophisticated and handsome-looking it's a bit difficult to trust that, but everything is heightened. Samuel is the Rudolf Valentino of tiny boys. Except that sometimes he still wets his bed. This is Havana as Hollywood. The movie is brightly-colored, as tasty as a box of fine candies, but its elegance is tinged with the acid of irony. The writing never pushes its points too hard, and the effect is pure pleasure. Coming of age may be a well-worn theme, but there is everytime room for fresh variations. Samuel's utter self-possession, defiance, and nice looks deliever a new mix.Samuel is brought to Havana by his mother Alicia (Susana Tejera), newly divorced--but not for the first time--to live with her long-ignored mother Violeta (Spanish actress Mercedes Sampietro). Violeta is a piece of work. She teases and commands Samuel, tries to intimidate him a little, threatens him with being sent away to school. (He's everytime in a the white shirt and tie he wears at his Catholic school.) Then rather suddenly he becomes Violeta's protégé. They hit it off. He's as strong-headed as she. She's a portrait photographer; he becomes her assistant. She threatens him to create him work for her, but she needn't; he likes it. Gradually a "nice" relationship between Violeta and Samuel develops. One wouldn't call it "warm," but they're close allies, two of a kind. For him she's a bridge toward nice things to come. He's probably at least as grown up as she is.Samuel also gets to watch "television" of a very unique sort that a girl of ill fame shows his classmates--a stage out of Fellini's Amarcord, but like everything in this film, tidier and more elegant. Alicia meets Ramon (Jose Angel Egido), the plump and proper owner of a shoe store, in a weepy movie. They look over at every other, both with tears streaming down their faces, and they know they're a match. She goes to work at Ramon's shop, and eventually they are to marry. Meanwhile Samuel gets increasingly advanced kissing lessons from the tv lady's very foxy daughter (Claudia Valdes). (In one of Giroud's more daring conceits, he continues at home in bed with a ceramic head of the Virgin.) He is madly in love with a true girl he meets delivering image portraits, Violeta's most pretty model, a film star called movie star Nuria (Carla Paneca), a superb lady who lives in a great house and soon turns out to be the girlfriend of one of the most popular heroes of the Cuban Revolution.Samuel isn't particularly enthusiastic about Ramon, but Ramon makes a successful effort to woo him. Ramon is the one who first alludes darkly to the "big things event in this country," at the time news to Alicia. He's plainly not at all satisfied about these "big things," so it seems likely he's going to be among those who will flee when the Revolution happens, as it does, finally, with a burst, jump-starting The Silly Age's last section. But we see nothing of it but some historical footage, and a glimpse at Nuria's boyfriend. The movie works on its own tiny scale, with an eye for the absurd--implying its "big things" only appear so to the participants--though perhaps hinting that as Samuel slips out of his silly age, Cuba slips out of hers.Everybody knows Havana has an unsurpassed collection of Fifties cars, and some of the most immaculate of them are seen to nice advantage in this film. Everything else is likewise perfectly in period. Giroud's touch is deft. He never lets a stage run too long. He's a surprisingly smart and mature filmmaker. Credit is also due to the cinematographer, Luis Najimias Jr.; the creator of the screenplay, Arturo Infante; and the production designer, Maya Segura.The Silly Age was shown at the Toronto festival last September and was a SKYY Prize contender (for first time directors) when shown as part of the San Francisco International Movie Festival 2007. It won the fresh SFIFF Chris Holter Award for Humor in Film.



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