The biggest problem of Legacy in the bones It is his inability to be memorable in any of its aspects.
The Baztán trilogy, the popular black novel series written by Dolores Redondo, continues its transfer to the big screen with Legacy in the bones, a second installment that is again at the doors of brilliance. The director Fernando González Molina and the scriptwriter Luis Berdejo are again responsible for an adaptation with a pulse and conscience, but far from the stylish noir or the shocking thriller, genres to which he intends without success.
There is no doubt that the work of someone who has directed Three meters above the sky (2010) and I desire you (2012), two box office bombings, is something to be very attentive to. Years later, Fernando González Molina tried to give a little more sense to the babbling of Mario Casas without a shirt on Palm trees in the snow (2015), but still did not have the full respect of professional criticism. Now, with the Baztán trilogy, an adaptation like The invisible guardian (2017) seemed a perfect place to show off once and for all.
Almost none of that and that. The on-screen history of the
Inspector Amaia Salazar is on her way to being buried early. A legacy,
that of González and Berdejo at the controls of this fiction, in the bones, never
rather. Shivering, the movie goes from less to more, after a first act
very heavy and after spending an hour in anecdotes and detective aspects that
nobody is interested, to try to trace in a second half that, no
However, it does not reach the levels of intrigue and mysticism to which it should
Shivering, the movie goes from less to more, after a very heavy first act.
This is, in fact, the biggest problem of Legacy in the bones and its related: its inability to be memorable in any of its aspects. The flooding of the Baztán river again dazzles a possible gloomy setting of that traditional area of Navarra that, in my opinion, should be a fundamental element as Elizondo was in the literary work. And the soundtrack does usually win the pulse of the incessant and boring thunderstorm, but it gives the feeling that better planes, landscapes or very first are missing that transmit much more.
As for the interpretations, they continue in a rather irregular line. Marta Etura returns to have a bad role where the secondary ones shine more; Ironically, I like the ones that appear less on the screen: Imanol Arias, Ana Wagener and Susi Sánchez. Only they three seem to have captured the intonation of a story about witchcraft. Nor does it have to be as exaggerated as those of Zugarramurdi, but with more technical and choral enthusiasm everything would have provided something more entertaining to a work that, I insist, moves far from black cinema and its variants.
Synopsis It has been a year since Amaia Salazar resolved the crimes that terrorized the Baztán Valley. Pregnant and determined to leave behind the experience in Elizondo, the life of the inspector is again altered by an unexpected event: the suicide of several prisoners who leave a single word written on the wall of their cells, Tarttalo.
Direction Fernando Gonzalez Molina
Script Luiso Berdejo
Distribution Marta Etura, Leonardo Sbaraglia, Elvira Mínguez, Imanol Arias, Pedro Casablanc, Carlos Librado, Itziar Aizpuru, Colin McFarlane, Miquel Fernández, Francesc Orella, Benn Northover
Original title Legacy in the bones
The post Legado en los bones (2019), by Fernando González Molina – Crítica appeared first on El Cine en la Sombra.