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The Ghost and Mrs. Muir (The Ghost and Mrs. Muir, 1947) by Joseph L. Mankiewicz.

" My soul is too weak on it weighs like an unfinished dream, waiting for death ." John Keats.

Lucy Muir (Gene Tierney) is a young widow who moves with her daughter Anna (Natalie Wood) and her maid Martha (Edna Best) in a haunted house, located by the sea, which lies the spirit of Captain Daniel Gregg (Rex Harrison).

Delightful and touching romantic fantasy in which comedy and drama are combined with skill, deepening issues like the need of love, loneliness, the passage of time or the ephemeral nature of life.

The excellent results that this film offers is a result of the perfect combination of all and each of its components: from script to direction, to performers, music and photography.

is commendable subtlety with which the film takes us from what at first appears to be a light comedy based on the comparison of characters, into a sad and melancholy love drama of profound existential connotations.

Mankiewicz again after having Gene Tierney Dragonwyck Castle (Dragonwyck , 1946) to play the stubborn and determined, but also fragile and sensitive, Lucy Muir. Her exotic face, perhaps the most beautiful that ever appeared on a movie screen, get grumpy and foul-mouthed raise phantom composed by the always great Rex Harrison. Among them began a platonic relationship which completion is impossible for obvious issues, which will allow it to interfere in the brazen character that gives life a cynical George Sanders.

The continuous states of sleep and awakening of the protagonist, give the story a distinctly dreamlike. Perhaps the spirit of Captain Gregg and there is only a dream, or the product of a mind in need of companionship and affection, " I'm here because you think I'm" , Daniel says to Lucy, as he calls it, in a given moment in the film.

undoubtedly contribute to enlarge the work the translucent picture of Charles Lang and the delicate, beautiful and evocative score by the great Bernard Herrmann.

are two moments that stand above the rest throughout the film: the final emotion that will cause the viewer to see startled by the fall of a tear, and that could well serve as inspiration for the closing of the extraordinary also The Empress Yang Kwei-fei ( Yôkihi , 1955) by Kenji Mizoguchi, and the sequence in which the ghost, taking the rest of his beloved, leave of her singing a hauntingly bitter speech:

"How would you like the North Cape, and on the Fjords midnight sun, and surf along the reef in Barbados, where the blue water turns green, and from the Falklands where the southern gale rips the whole sea and white again ... What we have lost, Lucia, what we have lost both ".

Rating: very good .

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In the towns of Las Palmas, La Leon and General Vedia, are over 20 families engaged in agricultural activity small-scale and decided to diversify their production to incorporate beekeeping in their current production systems. The rise of beekeeping in the province, is based on efforts they have made different institutions working in the area, training and supporting the activity. Beekeeping in the province of Chaco is in constant growth and is strengthening as an alternative production, mainly to families of small producers. In the towns of Las Palmas, Leon and The General Vedia, who belong to the Bermejo, are over 20 families engaged in small-scale farming and decided to diversify its production incorporating beekeeping in their current production systems. The rise of beekeeping in the province, is based on efforts they have made different institutions working in the area, training and supporting activity, as is the case of Project Training GVC Juan Penco, producer of Beekeeping Cooperative COOPAP; of INTA Colonia Benítez, with its office located in Las Palmas and the Ministry of Production and the Environment of Chaco, who have decided to capitalize on efforts by signing an agreement to work to meet the demand of the producers. The area has the strength of the natural resources provided by the existing vegetation, as well as a room enabled extraction and packaging by SENASA that will allow them to finish the production cycle and ensure the safety and quality of honey. In order to optimize the production in all aspects, he pushed a Bees introductory course for training and technical advice to small producers Beekeeping in the area, to be able to implement appropriate management techniques for development of beekeeping. They can be productive model to achieve a multiplier effect of the activity. This course covered Targets met expectations and objectives at the beginning, since most of the students in the practical field first learned the methodology to capture natural swarms, it to put into practice in their ventures. Also added more knowledge and skills to those students who already had hives for a long time but never had the opportunity to train. Although this course was an introduction to beekeeping has a significant impact on the audience as they began to take shape other demands on the organization and structure of work for their apiaries. It is proposed to follow in the path of continuous training and to progress in local management to encourage growth in number of hives to be able to get economic returns in the medium term. Source: http://www.datachaco.com/noticia.php?numero=42656

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The Shining (The Shining, 1980) by Stanley Kubrick.

Jack Torrance (Jack Nicholson) is hired to take over the maintenance of the Overlook hotel, located in the mountains of Colorado during the winter months in which to stay closed. Until then moves with his wife Wendy (Shelley Duvall) and young son Danny (Danny Lloyd), no However, the long period of isolation and the supernatural forces that inhabit the hotel, end up upsetting your mind.

Far from being the masterpiece that some preach, is overrated horror film of overwhelming a weak script and adapted the novel by Stephen King, is one of the less successful work of director.

After the dismal failure at the box office harvested by Barry Lyndon (his best film in my opinion), Kubrick chose to undertake the completion of a film that was much more commercial. In addition, we liked the idea of \u200b\u200bexploring one of the few gender who had not yet touched (not hard to imagine the enormous ego of Kubrick planning what was to be the best horror movie of all time). Unfortunately, the end result, although of unquestionable quality, was far from being fully satisfactory.

The Shining be ascribed to the subgenre of haunted houses, or houses damned if we use the term coined by writer Ángel Gómez Rivero. In this case, instead of an old house or mansion nineteenth century, we have a hotel where ghostly presences are due to be built on an ancient Indian burial ground and a gruesome crime committed years ago.

If initially only the child who perceives what is happening in the facilities of the hotel due to its ability to "shine" with the passage of time, evil spirits will exert increasing control more on the psyche of his father to finally be also visible before the terrified eyes of his mother.

One of the weaknesses of the script, I think, is that power is not possible ambiguity, since all the logic of the story is subject to a mere supernatural explanation. No delves into the characters and their psychological development continues, but simply especially in the case of Nicholson's character, they become puppets manipulated by entities unaccountable: Jack is not crazy about staying in an isolated context, which is toward what looked to be heading the film in its opening minutes, but by the will of some mischievous ghosts. There is no one psychological study, which would have been much more interesting. We opted for the easy.

Far above what counts is how the story goes, that's what ends up raising the work to a content category that did not deserve. Stressing the spectacular aerial maps of opening credits, the staging of large rooms emphasized with the use of wide angle or pompous and brilliant steadicam tracking shots of.

Magnificent is also the background music that accompanies the whole film, with an impressive selection of compositions by composers from the likes of Bela Bartok, Gyorgy Ligeti and Krzysztof Penderecki.

can not say the same about the interpretation of Jack Nicholson, too overacted and closer to the laughable than the horrific.

Finally, note that the most famous sequence in the film, one in which Jack, ax in hand, smash a door in order to slaughter his family, is practically identical to one that appeared in the silent masterpiece by Victor Sjöström The Phantom Carriage ( Körkarlen , 1921). Kubrick, as a big movie buff who was sure he knew and was probably inspired by her.

Rating: Good .

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Falso culpable (The Wrong Man, 1956) by Alfred Hitchcock. Classics of Western

Christopher Emanuel Balestrero (Henry Fonda), who is called "Manny" is a New York jazz musician and exemplary parent who is wrongly confused with a dangerous robber.

The Wrong Man is a unique film in the career of its author, not by its subject, which revolves around the issue of false Hitchcockian guilty, but by eminently realistic assumptions that underpin its design.

Hitchcock himself in his preface warns us about the unusual nature of a work for the first time in his films, is based on an event true.

of quasi documentary realism (some sequences were shot in real places where events had occurred), it is a somber film, exposed through an austere staging bressoniana nudity, and like the Kafkaesque The process ( Le Proces , 1962) by Orson Welles shows the helplessness of the individual against the imponderables and cryptic law enforcement.

In its first minutes, after Fonda's character out of fashion club early in his orchestra works, Hitchcock anticipates what will happen through an expressionistic background that places him on his back and between two policemen walking by the night watch. It is but a chance (not the only along the length) which may go unnoticed foreboding sense at first viewing, but with the filmmaker and makes it clear that his protagonist is heading towards a near future shifting shadows.

The author emphasizes the Vertigo Manny state of anxiety using the subjective point of view, with which also involves the audience, who experience their discomfort and unease. An example of what I say (there are many more) is the sequence that is contained in the police cells and begins to search the corners of the space claustrophobic until almost faints.

The filmmaker also indulges in each of the steps that are part of the ritual of detention (registration, fingerprinting, placement of handcuffs, transfer to prison ...) to highlight the humiliation and shame that her character undergoes. Few

licenses that takes the director for a story that has no frills, one of them the famous dissolve in illustrating the "miracle? that occurs near the end.

To highlight the superb performances of Henry Fonda and Vera Miles, the latter giving rise to Rose, Manny's wife, who suffer terrible psychological consequences because of the judicial process that is interfered her husband.

contribution is also brilliant Bernard Herrmann, whose experimental sound track emphasizes situations and moods of the protagonists.

Wrong Man is a movie essential, unprecedented within the films of Hitchcock, and anyone who has not seen this masterpiece can claim to have a complete overview of the work of British genius.

Rating: masterpiece.

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: bold Mission (The Horse Soldiers, 1959) by John Ford.

Civil War. A regiment of Union Army commanded by Colonel John Marlowe (John Wayne), should go into Confederate territory in order to destroy a railway line. The largest and physician Henry Kendall (William Holden) also form part of an item that goes to trial to avoid being intercepted by the enemy.

Superb and undervalued title westerniana war and marked envelope with the anti-war look that Ford, without wishing to give speeches or make moral judgments, it shows the cruelty, the horror and the contradictions arising out of any conflagration.

Building on a solid script, the film combines with great mastery the epic and intimate, serious and light, the drama and humor, action and reflection ... a story of strong narrative and psychological deep cleft.

Ford introduces the fourth time in the universe of the U.S. Cavalry, this time away from the romance and customs of the military tasks that prevailed in his trilogy canon. And is that because of the reckless megalomania Fort Apache (idem, 1948), serenity Twilight Wore a Yellow Ribbon ( She Wore a Yellow Ribbon , 1949) and lyricism reminiscent of Rio Grande ( Rio Grande , 1950); The Horse Soldiers, in what is an obvious sign of maturity, is more sober and critical, more bitter and hopeless.

One of the strengths of the film is the tense confrontation that arises between the two main protagonists: the embodiment of duty at the hands of an imposing and authoritative John Wayne, demonstrating for the umpteenth time the acting category, compared to the humanistic view of always excellent William Holden.

Marlowe, ambiguous and denied, will destroy the paradox of military service that she used to survive in civilian life (he was a railroad laborer), and it will have to accompanied by a union representative The medicine, to he who feels ill by a tragic past event.

Kendall, meanwhile, is a man of peace for which, under the Hippocratic Oath to be, it is essential to the service of human dignity and integrity.

between these two strong personalities are needed female presence to the character of Constance Towers, a wealthy Southern girl whose apparent frivolity will be tested by the terrible circumstances of the conflict.

The author of The Searchers wisely shapes all his characters, by turning their emotions and feelings under the events; and giving each point in the narrative for the beat. Mission

bold claim is a tape in the Fordist extensive filmography, a great example of the talent of its maker. Almost a masterpiece.

Rating: very good .

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Sanjuro (Tsubaki Sanjuro, 1962) by Akira Kurosawa.

Sanjuro (Toshiro Mifune) is a wandering samurai who is allied with nine young people who seek to expose and curb corruption in his clan.

Superb masterful sequel to Yojimbo (1961), which is still following the adventures and misadventures of ronin Sanjuro Tsubaki, antihero of characteristic gait and gestures of lazy, which will put its experience and ingenuity in the service of a naive and inexperienced group of samurai.

As occurred in the previous film, the main character (superbly played by the great Toshiro Mifune) comes to a community divided into two camps, however, instead of siding with one or another depending on their interests as happened in that, opt for help from the beginning to the weakest.

The deal established between the veteran and the young samurai, not very different relations teacher / pupil found in other works of the master's filmography Japan as The drunken angel (Tenshi Yoidore , 1948), Stray Dog (Nora Inu , 1949) or Barbarossa ( Akahige , 1965) , to name a few.

Sanjuro's first appearance in the film, emerging from the shadows of an adjoining room to another in the group discussion on the possible identity of the corrupt, is a prime example of his character uprooted. We face a true globetrotter who goes back and forth aimlessly, a guy who know the place where you eat every day and sleep each night.

Kurosawa emphasizes the unique character of his character to shoot it as if it were a foreign body in the planes in next to those who end up being his pupils. They almost always located in a corner of the frame, as if it remained isolated, against uniformity in the composition of postures and gestures with which the rest of us. Clearly not in their world, much closer to its rival, the samurai also Hanbei Muroto (Tatsuya Nakadai), who at the young. In fact, one can say that Sanjuro and Muroto are two sides of the same coin, hence the interesting relationship of mutual respect that emerges between them, culminating in the inevitable final showdown spurt.

The narrative is interspersed with instructive moral lessons (" Good swords are sheathed are always," "Be wary never appearances," What rotten is where we least expect "...), action sequences in which Sanjuro shows his unparalleled skill in the art of the katana, and no small dose of humor, making the viewing of the film in a truly priceless entertainment.

Rating: very good .

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Beauty and the Beast (La Belle et la Bête, 1946) Jean Cocteau.

Bella (Josette Day), to save the life of his father, a bankrupt businessman who gets lost in the woods and goes to the castle of a Beast (Jean Marais), decides to go to live with the monstrous being, despite his terrible look will cause fear and repulsion.

La Belle et la bête is the masterpiece of the poet, novelist, playwright, painter and French filmmaker Jean Cocteau. A film of extraordinary imagery and exquisite sensitivity which is the most beautiful and inspired adaptation of the story of Jeanne Marie Leprince de Beaumont.

After some initial credits Cocteau himself, chalk in hand, writing on a blackboard. It warns us, the viewers, on the need for us to get carried away by the ingenuity in order to enjoy the history that is about Serna presented.

The lyricism of its images, halfway between the force and fascination surreal expressionism, leads to a heady world of magic and fantasy where everything is possible. A world of unbridled imagery in which disembodied arms hold candelabra, serving wine and curtains are, where stone busts and sculptures with curious eyes watching what is happening around him, and the tears become diamonds and a glove you can move to the place you want.

Loaded with unforgettable sequences, highlight one in which Bella, wrapped in a halo of poetic evanescence, enters in a quasi-weightless in the mysterious enchanted castle stays under the line of delicious score Georges Auric.

The actor Jean Marais, who was then director lover, took on his dual role with competence. Since it plays both the beast and the quarrelsome Avenant, highlighting especially when acting under the heavy makeup and hairy Hagop Arakelian, basing his brilliant work on the expressiveness of his eyes and tone of your voice (must see the film in its original French.)

So convincing is his performance that, we are told at the time of its release, upon its transformation into a prince, the actress Greta Garbo uttered the now famous phrase " Devolvedme my beast! "

Josette Day, meanwhile, added to her beautiful face dose of sweetness and delicacy appropriate to the character.

always is a pleasure for the palate indescribable cinephile review this title Essential European fantasy. Work with the talent of its author, restored the depressed postwar Europe capacity to dream.

Rating: masterpiece.

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Dies irae (Vredens dag, 1943) by Carl Theodor Dreyer. Ten masterpieces

Denmark, 1623. Herlofsen Marte (Anna Svierkier) is an old lady accused of witchcraft which are condemned to the stake. In his desperate attempt to escape the flames, go to the pastor Absalon (Thorkild Roose), who once saved the charges to another alleged witch in exchange for marrying his daughter Anne (Lisbeth Movin). On the other hand, Martin (Preben Lerdorff Rye), the only son of the pastor, returns home after several years of absence, feeling attracted to the young wife of his father.

had been more than a decade since the completion of his latest film ( Vampyr , 1932) when the Danish master shot Dies irae, a stunning work that reaches its language full maturity in its steady progress towards the purification and the most absolute asceticism.

The film delves into topics such as religious fanaticism, superstition, intolerance and repression latter stressing from a social and sexual, without ignoring its obvious political interpretation, as the tape was made in the midst of the Nazi occupation of Denmark. Dreyer

always showed interest in the transcendental and metaphysical issues, away from religious dogmatism, and influence of Kierkegaard, giving primacy to personal subjectivity in the relationship between man and God. Hence the more or less latent criticism that manifests itself in many of his films to the so-called religion.

Here we have a number of compelling characters and psychology perfectly drawn that, by their inability to cope with their impulses and feelings in a rational and consistent, end up imbued with the weather cloudy and uncompromising belief that presides over the community in which they live, thus trying to justify and alleviate their sins and sorrows.

The narrative is articulated for the first time in the cinema of the author, through elaborate and deliberate sequence shots, whose use will be to the extreme in the last two films of the filmmaker.

Its sober and austere scenery refers to Hammershoi boxes, while its lighting based on light and dark, reminiscent of the work of the Baroque painters like Rembrandt and Frans Hals.

All exudes sublime artistry, deep unfathomable mystery and mysticism in this summit dreyeriano art.

Rating: masterpiece.

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- The Passion of Joan of Arc ( La Passion de Jeanne d'Arc , 1928) by Carl Theodor Dreyer .

France, year 1431. Joan of Arc, French heroine facing young English enemy, is subjected to an inquisitorial process by stating that their actions are inspired by the voice of God.

artwork which gives Dreyer staging ascetic and abstract as a vehicle to show both the triumph of the soul over the flesh, like the image on the floor.

- Alexander Nevsky (idem, 1938) of Sergei M. Eisenstein.

Russia, XIII century. The Russian people, weary of Mughal pressure, to instruct the prince Alexander Nevsky to cope with the feared Teutonic enemy.

One of the indisputable masterpieces of its author. The sequence of the battle on the frozen lake, articulated through the assembly virtuoso Eisensteinian and orchestrated by the portentous score by Prokofiev, remains one of the top movies of all time.

- Macbeth (idem, 1948) by Orson Welles.

Scotland, XI century. After returning from a battle, the knight Macbeth meets three witches who prophesy that eventually becomes king.

first of the three adaptations of Shakespeare performed by the author of Citizen Kane . With an expressionistic staging and clear resonances Eisensteinian, Welles gives us one of his most experimental and more expressive.

- The Seventh Seal (Det sjunde inseglet, 1957) by Ingmar Bergman.

Sweden, XIV century. The knight Antonius Block returns from the Holy Land with his faithful squire , meeting a country devastated by the Black Death and the fear of the coming of Judgement Day.

existential anguish and deep reflection with which Bergman was consolidated as an exceptional filmmaker. The attraction of many of his pictures have become an icon of European cinema of all time.

- The Virgin Spring ( Jungfrukällan , 1960) by Ingmar Bergman.

Sweden, XIV century. Karin, the young daughter of King Töre, decides to cross the forest and bring the offering of candles at the altar of the Virgin. On the road you will find three pastors of dark intentions ...

The Swedish master, this time inspired by the way of the samurai films of Kurosawa, gives us a sweeping tale of revenge on the living love and hate, innocence and cruelty, purity and imperfection, Christianity and pagan rites ... Magistral from beginning to end.

- Chimes at Midnight ( Chimes at Midnight , 1965) by Orson Welles.

England XV century. Prince Hal, the future Henry V, spends every day engaged in vacuous carefree entertainment and political issues with his partner of revelry, the old Falstaff.

De Welles made adaptations of Shakespeare texts, Chimes at Midnight is probably the most personal of all. Freely adapted several works of English author ( Henry IV, Henry V , The Merry Wives of Windsor and Richard II), and it contains one of the most brilliant sequences of all his work, as is the the foggy battle in the mud, in addition to one of the most fascinating films Wellesian: the plump and lush Falstaff, with which the actual Welles, who plays him, holds more than a parallel.

- Andrei Rublev ( Andrey Rublyov , 1966) by Andrei Tarkovsky.

Russia, XV century. Andrei Rublev, a monk painter of icons, leave the monastery and came into contact with a cruel and violent world that will make you reflect on the meaning of its existence and its role as an artist. Major Works

Tarkovsky. Monumental history of medieval Russia which is one of the most beautiful films, dense, deep the history of cinema. Your vision should be scheduled periodically in all the world's museums to show how far the art when it reaches its peak.

- Marketa Lazarová (idem, 1967) Frantisek Vláčil.

Bohemia, XIII century. Two extended families face after the abduction and rape of the daughter of one of them by members of the other. Nobody should miss

historical tapes Czech filmmaker Frantisek Vláčil, author of a visual talent undeniable. With influences Bergman, Kurosawa and Tarkovsky; Lazarová Marketa is shown as a historical poem that reflects the bitter struggle between two minds: the Christian and pagan. In 1998 he was voted best Czech film history.

- The valley of the bees ( Údolí VCEL , 1968) Frantisek Vláčil.

Prussian Baltic region, the Middle Ages. Ondrej is a young lover of bees that are brought to the new wife of his father, the lord of Vlkov, a girl who's almost his age and that gives a basket filled with petals that lurks beneath bats. Such action will load his father violently against him, being about to take his life. Remorse for his cruelty, the lord of Vlkov promise before the image of a virgin to consecrate her son's life to God if not finally dies. Ondrej is why eventually sink into the Order of the Knights of Cross, in which a crusader named Armin will take care of their education. Drama

mystic of great beauty and lyricism in which Vláčil again delve into the differences between Christianity and paganism, between spirit and flesh. A powerful masterpiece.

- King Lear (Korol Lir , 1971) by Grigori Kozintsev.

Middle Ages, unspecified century. The old King Lear, weary of operating the power, decides to divide his kingdom among his three daughters.

King Lear is with Hamlet (1964), Kozintsev also the best film adaptation of a William Shakespeare play. A sober and earthy tragedy stands as one of the peaks of the Soviet cinema of all time.

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XXI on the best movies ever.

As a contributor to the magazine Original Version, the association XXI MECCA (Movement for the Study and Critics of Film and Audiovisual in the XXI century) which aimed to develop a survey to to determine what the best movies ever, asked me to pick eleven films, one for each of the decades that have elapsed since the invention of cinematography. My choice was:

Period 1895-1909:

- Trip to the Moon ( Le Voyage Dans la Lune , 1902) by Georges Méliès.

Period 1910-1919:

- Intolerance (Intolerance , 1916) by DW Griffith.

Period 1920-1929:

- Amanecer (Sunrise , 1927) by FW Murnau.

Period 1930-1939:

- The Bride of Frankenstein (The Bride of Frankenstein , 1935) James Whale.

Period 1940-1949:

- Ivan terrible he ( Ivan groznyy I , 1944) of Sergei M. Eisenstein.

Period 1950-1959:

- ordet (Word) ( ordet , 1955) Carl Theodor Dreyer.

Period 1960-1969:

- Gertrud (idem, 1964) Carl Theodor Dreyer.

Period 1970-1979:

- Stalker (idem, 1979) Andrei Tarkovsky.

Period 1980-1989:

- Sacrifice ( Offret , 1986) Andrei Tarkovsky.

Period 1990-1999:

- Lost Highway (Lost Highway , 1997) by David Lynch.

Period 2000-2009:

- Yi Yi (idem, 2000) by Edward Yang.