Although Bal has a slow and quiet pace, I found it very engaging from the first minute, much more than similar movies. Partly this is due to the opening scene, where Kaplanoglu gives us a hint of the drama which is to unfold, but from then on it is young Yusuf who carries us towards the end. His performance is astonishing, his sadness and loneliness seem almost natural. Bal is a movie of great beauty. I found some of the images, like the dark scenes inside the house, very in line with high art, Caravaggio-style.
Two and a half hours is a long ride and Clouzot does take his time to introduce us to his protagonists in the first part. Still, the scenes at Las Piedras, which seems like the end of the world, are very well done, colorful and already quite tense. Yves Montand is supreme in his role as Mario.
Of course, the great strength of Le Salaire de la peur lies in its second half. I found it striking how, after more than sixty years, Clouzot manages to nail me down to my seat, with a great ending. A true masterpiece and must-see for every movie fan.
Raúl Arévalo is a name to remember. After a stunning start, tension builds as Tarda Para La Ira slowly evolves into a gripping thriller.
Recalling the classic Western, Arévalo’s realistic, sober and no-compromise filming shows that Southern machismo is still standing, even in the high-density barrios of Madrid.
Revenge is a dish best served cold…