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Horror, Spanish Cinema

Los ojos de Julia (Julia's Eyes, Spain 2010)

Belén Rueda as Julia with bandaged eyes after an operation

Overall I think that Los ojos de Julia disappoints. It’s not that it is a bad film as such but it doesn’t have the richness and complexity of El orfanato. The comparisons are valid partly because of Belén Rueda’s central role and partly because of Guillermo del Toro’s implicit recommendation (as producer). It’s a couple of weeks since I saw the film and it hasn’t really resonated with me beyond the screening. On the other hand I did find it compelling over 112 minutes.

It’s not the same kind of film as El orfanato although there are similarities. Belén Rueda plays Julia, a woman whose sister appears to have committed suicide because she can no longer cope with the prospect of total blindness as the result of a degenerative genetic disease. Julia herself is also prone to the disease but when she visits her sister’s house she is not prepared to accept the suicide and she decides to investigate (along with her husband played by Lluís Homar – well-known in the UK for his performances for Almodóvar, including as a blind man in Broken Embraces.) Julia is convinced that there is someone watching the house – and watching her. The plot is purely generic in that it requires the protagonist to wish to be in the ‘old dark house’ even when she knows that the stress will hasten the degeneration of her sight. So everything that you might expect to appear as a thriller/horror convention does indeed pop up. I don’t really have problems with this – perhaps because I don’t watch so many Hollywood films with similar scenarios. What more can you ask for than for a film like this to make you jump and then leave you on the edge of your seat?

The performances are generally very good and the sets and cinematography/lighting are excellent. The weakness is really the script. (Guillem Morales wrote and directed the film.) It seems to have several plot holes and some of the actions of some characters seem implausible. Some audiences seem to have problems with the ending and the symbolism of ‘Julia’s eyes’ (which I won’t explain as it would spoil the plot surprises). The ending didn’t bother me but I would have liked more of the relationship between Julia and her husband – something which served El orfanato well with the equivalent characters. El orfanato has a strong thematic around the ‘missing dead’ of the Franco period. Los ojos de Julia also has an underlying theme – about the people we don’t see, those who for various reasons are invisible to most of us. This obviously also refers to the concept of loss of sight or visual impairment. Unfortunately I don’t think this is woven through the narrative as effectively as the theme in the earlier film.

In institutional terms, Los ojos de Julia is another example of a classy Spanish horror thriller with careful production design funded via several Spanish TV companies with the support of Studio Canal and its long-term Hollywood partner Universal. It would make an interesting case study for genre analysis in linking the psychological horror film (i.e. with both ‘internal’ and external terrors for the protagonist) with the thriller format exemplified by Wait Until Dark.

The UK trailer:

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