Analysis
Intruso concern an impossible love triangle that ends in murder. Aranda's direction is concise, its style austere, unadorned and atoned with the claustrophobic and dark atmosphere of the film. Jose Luis Alcaine's cinematography is dark and cold. The camera has a fondness for darkened bedrooms intense two- shots winter light according to the dark plot line.
Some elements of Intruso resemble Emily Brontë's novel Wuthering Heights. Luisa assertion that she loves Ángel like a part of herself is similar to Catherine Earnshaw's close self-identification with Heathcliff in the novel. Luisa's love for Ángel and Ramiro also resembles Catherine Earnshaw's split interest between Edgar Linton and Heathcliff. Luisa like Catherine has chosen the placid commodity of a quiet life with Edgar (Ramiro ) over the riskiest alternative of Heathcliff (Ángel).The rivalry of the two former friends for Luisa's affection also resembles Edgar and Heathcliff dispute over Catherine. Ángel as Heathcliff comes back after years of absence to disrupt the couple's life. Luisa's attitude to Ángel's illness reflects Heathcliff's reaction to Catherine's death. Novel and film end in the graveyard.
In once scene, Ángel and Ramiro are in Ramiro's consulting room. The drama is heightened by strong white light from the windows. Ángel tells him directly of his hatred for him, of the atrocious tortures he has imagined in the years of absence. Ramiro takes a step towards him and equally directly gives him his version of “ the painful truth “, that Luisa made a mistake marrying Ángel and corrected it by marrying Ramiro. The white light on his face heightens his chilly candor. The reverse shot shows Ángel, now with tears and intensity on his face. The two men swap positions and Ángel rage and desperation increases. Again, they are face to face closer now, than before. Violently Ángel grasps Ramiro by the arms and to the words “ I still love her madly “ kisses him ferociously first in both cheeks and then with ambiguous intensity and eyes closed, kisses him on the lips. Underlying the pure vengeful intend. Ramiro is forced into being a momentary fantasy substitution for Luisa. There is another interpretation, that of a homoerotic undercurrent, from the intensity of the adolescent triangle. Ramiro's reaction is of a threat with his fits “ if you that again I’ll punch you face in’ The scene carries the classic violence of homosocial rivalry over into the arena of male rape, and yet it allows a violent tenderness, not between Angel and Ramiro now, but between Ángel and what he has lost.
Ángel triumphant, vehement and sensuality charged confession to Ramiro on the way from the clinic on the day of the news, that he ahs slept Luisa again. Ramiro's’ reaction is a mixture of misplaced loyalty. Emotional dysfunction and self-interest, all conformed with the codes of male friendship. Act as he does Ramiro's’ attitude bring upon him and his family the tragic of the double murder, because neither he understand his wife of the situation.
The mystical and sometimes deranged character of Luisa is formed of sheer emotion and feeling. In the most impressive scene of the films, Luisa revived the comatose Ángel with sheer vital force, without any help, she drags him to the swimming pool, where she introduces his head in the water, which makes him react. At the same time that she has to carry a weight superior to her own and in front of he husband and children, who are witness of the miracle of Ángel's resurrection. Luisa very riotously exhorts Ángel to open his eyes and live in a monologue that is, a beautiful declaration of love.“ Wake up, I order it to you. Repeat with me, I don’t wanna die, I don’t wanna die. Live for me, so I can tell you, I love you, I love you, a million times. Live, so you can look at yourself in my eyes, so you can feel the warmest of my hands in your forehead. Look at that (pointing out to the moon) she is there, more beautiful than ever, she reflects tomorrow's light. Don’t you wanna see the morning's sun? Open your eyes, tell your name aloud, I order you to yell your name (she slaps him and continues). Hold on; help me, fight for your life. It is inside of you what doesn’t let you live. Spit it out. You have to live for me (she lays him down on the edge of the swimming pool), I shouldn’t have left you. I want you to feel pain, pain, the pain of being alive (she submerges his head in the water until the dying man reacts, coughing) Tell your name, I’m Angel and I wanna live (he complies) "Wait for me, I’m Angel".
Read more about this topic: Intruder (1993 Film)
Famous quotes containing the word analysis:
“The spider-mind acquires a faculty of memory, and, with it, a singular skill of analysis and synthesis, taking apart and putting together in different relations the meshes of its trap. Man had in the beginning no power of analysis or synthesis approaching that of the spider, or even of the honey-bee; but he had acute sensibility to the higher forces.”
—Henry Brooks Adams (1838–1918)
“A commodity appears at first sight an extremely obvious, trivial thing. But its analysis brings out that it is a very strange thing, abounding in metaphysical subtleties and theological niceties.”
—Karl Marx (1818–1883)
“Whatever else American thinkers do, they psychologize, often brilliantly. The trouble is that psychology only takes us so far. The new interest in families has its merits, but it will have done us all a disservice if it turns us away from public issues to private matters. A vision of things that has no room for the inner life is bankrupt, but a psychology without social analysis or politics is both powerless and very lonely.”
—Joseph Featherstone (20th century)