The Endless Trench takes place during the Spanish Civil War (1936-39) and its very long aftermath. The Franco regime received military and other aid from Nazi Germany and Fascist Italy in the civil war, and supported the Axis Powers materially until 1945. Afterwards, it gradually maneuvered itself into favor with the Western Allies through the time of Franco's death in 1975. However, until a general amnesty in 1969, it continued to vigorously root out and punish or execute various political enemies.
Some of Franco's political enemies were known to have hidden out over long periods to avoid arrest. Based on some real events, this is the story of one such man, Higinio (Antonio de la Torre), and his wife, Rosa (Belen Cuesta). Higinio, on the Republican side, is pursued at the beginning by fascist soldiers and manages to evade them, but instead of running off further he returns, so as he can hide out while remaining with his wife.
The two main actors did a nice job, and the focus was always primarily on them. There were no third or fourth principals, only secondary actors. The story revolved around Higinio and Rosa, who are tailors, and the movie achieved sentimentality between the two.
The difficult life Higinio led constantly trying to hide out in two residences (they switched to the house of Rosa's father-in-law) was developed well, and some tough moments were shown. Most intense was when neighbor and civil guard Rodrigo watches in secret after Rosa leaves and manages to see that Higinio is there. (Rodrigo blamed Higinio for the death of his brother.) Rodrigo knows the inner alleys and methods to break in, and Higinio is obliged to hide in a small closet and see a threatening Rodrigo through a keyhole. Luckily, Jaime, the son he had with Rosa over this time, was able to intervene.
Earlier, Rosa had been raped by a Gonzalo, a civil guard and customer, and Higinio was forced to watch with inaction (at first). There was doubt as to who Jaime's father was, but Rosa declared him their son. Later, as a student apparently in his teens, Jaime accuses his father of being a coward for hiding out, adding to Higinio's torment. More subtly this was an issue with Rosa too. (It is interesting that the screenplay has Higinio isolated almost right after the war started as opposed to near its end in 1939.) But Higinio did suffer; the miseries of his food and toiletry limitations, along with hygiene and dress, were displayed.
When the general amnesty comes in 1969, Higinio finally emerges from his literally closeted life. But that is as a movie of 2 hours and 27 minutes ends. For almost all of that to be in the orbit of Higinio's hiding in the houses is more than I can bear without becoming bored. I think I also have less tolerance vs. Other people for activity in a movie in dark background, whether it be sex or violence that one cannot see well or general movie action that is difficult to see and understand. The directors here certainly had their share of darker scenes.
So my main thought is, what could have been put in to add more action? Shortly after the movie begins, in a discussion Higinio has with his Republican "comrades," he tells them as he lectures them that bullets are not supposed to be used and landowners and Priests left alone. I guess a convenient set-up of good guys vs. Bad guys, but really, Republicans did that sort of thing too.
Does this preliminary info mean that things are clear and some opening action showing what happened and what Higinio was doing need not be shown? No.
There is an early exchange between Rosa and Isabel, Rodrigo's wife.
Rosa: "I mean that you could say it was a mistake - and take his name off the list." Isabel: "A mistake? He made the mistake when he burnt down what he shouldn't, huh?" Rosa: "Burnt what? Isabel: "Barcenillas hermitage belongs to the Carmelite nuns... Rosa: "It's not true... He may have his ideas, but he's not violent. Isabel: "What did he do when they killed Gonzalo's brother? He...didn't do or say anything, and he was a councillor." Rosa: "Isabel, go home."
In other words, there is still some doubt about Higinio's degree of culpability. This also is suggested later, in an exchange between Higinio and Jaime. Regardless, adding this action would have livened the movie up.
Another thing that would have helped would have been to show Franco's police capturing one or more Republicans and doing something to them, showing effect on their families, so to give the viewer an idea of what Higinio might face if caught. A brief sub-plot perhaps, and Higinio becoming aware of and discussing it. Or a few shorter dialogues and scenes, for the same purpose.
Finally, Jaime's political activities could have been shown more in their own right, rather than mainly just showing him bringing home a colleague and having his general conflicts with his dad. Perhaps enough to make him at least a semi-main character rather than only a secondary one.
Instead, the directors chose to have the obligatory gay scene as two gay mean take over the house for a while, reaching an agreement with Higinio. That is just how it works today regardless of LGTB issues being irrelevant to the movie's main points. This could have been cut, and little parts of other scenes could also have been, to add up and make room for more action.
Some of Franco's political enemies were known to have hidden out over long periods to avoid arrest. Based on some real events, this is the story of one such man, Higinio (Antonio de la Torre), and his wife, Rosa (Belen Cuesta). Higinio, on the Republican side, is pursued at the beginning by fascist soldiers and manages to evade them, but instead of running off further he returns, so as he can hide out while remaining with his wife.
The two main actors did a nice job, and the focus was always primarily on them. There were no third or fourth principals, only secondary actors. The story revolved around Higinio and Rosa, who are tailors, and the movie achieved sentimentality between the two.
The difficult life Higinio led constantly trying to hide out in two residences (they switched to the house of Rosa's father-in-law) was developed well, and some tough moments were shown. Most intense was when neighbor and civil guard Rodrigo watches in secret after Rosa leaves and manages to see that Higinio is there. (Rodrigo blamed Higinio for the death of his brother.) Rodrigo knows the inner alleys and methods to break in, and Higinio is obliged to hide in a small closet and see a threatening Rodrigo through a keyhole. Luckily, Jaime, the son he had with Rosa over this time, was able to intervene.
Earlier, Rosa had been raped by a Gonzalo, a civil guard and customer, and Higinio was forced to watch with inaction (at first). There was doubt as to who Jaime's father was, but Rosa declared him their son. Later, as a student apparently in his teens, Jaime accuses his father of being a coward for hiding out, adding to Higinio's torment. More subtly this was an issue with Rosa too. (It is interesting that the screenplay has Higinio isolated almost right after the war started as opposed to near its end in 1939.) But Higinio did suffer; the miseries of his food and toiletry limitations, along with hygiene and dress, were displayed.
When the general amnesty comes in 1969, Higinio finally emerges from his literally closeted life. But that is as a movie of 2 hours and 27 minutes ends. For almost all of that to be in the orbit of Higinio's hiding in the houses is more than I can bear without becoming bored. I think I also have less tolerance vs. Other people for activity in a movie in dark background, whether it be sex or violence that one cannot see well or general movie action that is difficult to see and understand. The directors here certainly had their share of darker scenes.
So my main thought is, what could have been put in to add more action? Shortly after the movie begins, in a discussion Higinio has with his Republican "comrades," he tells them as he lectures them that bullets are not supposed to be used and landowners and Priests left alone. I guess a convenient set-up of good guys vs. Bad guys, but really, Republicans did that sort of thing too.
Does this preliminary info mean that things are clear and some opening action showing what happened and what Higinio was doing need not be shown? No.
There is an early exchange between Rosa and Isabel, Rodrigo's wife.
Rosa: "I mean that you could say it was a mistake - and take his name off the list." Isabel: "A mistake? He made the mistake when he burnt down what he shouldn't, huh?" Rosa: "Burnt what? Isabel: "Barcenillas hermitage belongs to the Carmelite nuns... Rosa: "It's not true... He may have his ideas, but he's not violent. Isabel: "What did he do when they killed Gonzalo's brother? He...didn't do or say anything, and he was a councillor." Rosa: "Isabel, go home."
In other words, there is still some doubt about Higinio's degree of culpability. This also is suggested later, in an exchange between Higinio and Jaime. Regardless, adding this action would have livened the movie up.
Another thing that would have helped would have been to show Franco's police capturing one or more Republicans and doing something to them, showing effect on their families, so to give the viewer an idea of what Higinio might face if caught. A brief sub-plot perhaps, and Higinio becoming aware of and discussing it. Or a few shorter dialogues and scenes, for the same purpose.
Finally, Jaime's political activities could have been shown more in their own right, rather than mainly just showing him bringing home a colleague and having his general conflicts with his dad. Perhaps enough to make him at least a semi-main character rather than only a secondary one.
Instead, the directors chose to have the obligatory gay scene as two gay mean take over the house for a while, reaching an agreement with Higinio. That is just how it works today regardless of LGTB issues being irrelevant to the movie's main points. This could have been cut, and little parts of other scenes could also have been, to add up and make room for more action.