take43:/ElVerdugo/

    Luis García Berlanga's 1963 film El Verdugo is widely regarded as one of the most celebrated works in the history of Spanish cinema. Often cited as a paragon of black comedy, El Verdugo is notable for its incisive critique of prevailing social norms and its biting satire of the absurdities inherent in bureaucratic and institutional structures. 

    "El Verdugo occupies a pivotal position in the Spanish cinematic landscape, having emerged during the last years of the Franco regime. Its release in 1963 places it in the context of the emerging Spanish New Wave, which sought to express social criticism and dissent through subversive and often allegorical means. The film offers a subtle critique of the authoritarian regime and its moral hypocrisies, a recurring theme in Berlanga's work, which consistently challenged the status quo despite the strict censorship of the time. Berlanga, a prominent figure of the Spanish New Wave, draws heavily on Italian neorealism in El Verdugo. The film's dedication to portraying the everyday realities of the common man and its use of location shooting (despite budgetary constraints in certain scenes) are clear indications of its adherence to the principles of neorealism. The collaboration between Berlanga and Rafael Azcona, a frequent collaborator and master screenwriter, is evident in the script's sharp, satirical dialogue and its ability to capture the absurdity of life under an oppressive regime with both humour and pathos.

    "El Verdugo is full of semiotic richness, with every visual and narrative element imbued with a deeper, often ironic meaning. The title, which translates as "The Executioner", functions as a metaphor for the trap the protagonist, José Luis, finds himself in as an executioner, a position forced upon him by his father-in-law. The executioner's robe and the garrote, the instrument of execution, are not just literal objects in the film; they are powerful symbols of the inescapable weight of tradition, the absurdity of institutional roles and the moral blindness that results from bureaucratic obedience. Visual irony is used throughout the film, such as the juxtaposition of the sunny beaches of Mallorca and the seemingly jovial atmosphere with the grim reality of José Luis's profession and the impending death sentence he must carry out. This juxtaposition serves to highlight the absurdity and grotesqueness of any attempt to normalise state-sanctioned violence. The film's use of mundane settings, including government offices, modest homes and a sunny resort, serves to accentuate the moral dilemmas and existential despair faced by the characters. By placing these issues in the context of everyday life, the film effectively reinforces their centrality to the narrative.

    Philosophically, it can be interpreted through the lens of existentialism. The film's protagonist, José Luis, is forced to confront the absurdity of his existence and the moral implications of his actions, or lack thereof. The existentialist dilemma is central to the character arc of José Luis, who must choose between a life of poverty and a morally repugnant job that provides financial security. His initial reluctance and subsequent acceptance to become an executioner reveal themes of existential angst, bad faith and the human tendency to abandon personal morality in deference to societal and institutional expectations. Berlanga's film also offers a critique of the dehumanising effects of bureaucratic systems. The process of execution is presented as a mere administrative task, devoid of emotional or ethical considerations. This reflects the existential critique of modernity in which human life and death are reduced to mere functions of the state apparatus. The film thus offers a broader commentary on the banality of evil, a term coined by Hannah Arendt to describe the ordinariness of individuals who commit atrocities under authoritarian regimes.

    Among the many influences that shaped Berlanga's work was the Italian neorealist movement, spearheaded by directors such as Federico Fellini and Roberto Rossellini. The film's combination of dark humour and social commentary can be seen as an extension of Fellini's satirical style, while its focus on the everyday lives of the marginalised reflects Rossellini's influence. In addition, Berlanga's use of long takes and deep-focus cinematography bears a resemblance to the techniques popularised by Orson Welles and Jean Renoir. This allows for a more naturalistic and immersive approach to storytelling. The influence of Spanish surrealism, particularly that of Luis Buñuel, is also evident in El Verdugo. Berlanga's use of absurdist humour and his examination of social hypocrisies are reminiscent of the work of Buñuel, who often analysed the grotesque and absurd elements of bourgeois society. While Buñuel employed a more overtly surrealist style, Berlanga's approach is more subtle, with surrealism embedded within a seemingly realistic narrative framework.

    The cinematography of El Verdugo, directed by Tonino Delli Colli, is a synthesis of realism and expressionism. The film employs a restrained visual style, with a preference for long takes and minimal editing, in keeping with the slow progression of the narrative and the suffocating inevitability of José Luis's fate. This technique serves to enhance the film's comedic timing, while highlighting the emotional disconnect between the characters and their grim reality. In addition, Berlanga's visual style in El Verdugo alludes to the Spanish literary style of "esperpento", characterised by its grotesque depiction of reality. The use of wide-angle shots and distorted perspectives at times lends the film a subtly surreal quality, accentuating its penchant for dark comedy and reinforcing its thematic exploration of the absurdity and despair inherent in human experience. The cinematography often places the characters in confined environments, visually reflecting their imprisonment within the confines of societal roles and expectations.

    El Verdugo's script, co-written by Berlanga and Rafael Azcona, is a masterclass in dark comedy and irony. It uses a narrative structure that gradually builds tension while maintaining a comedic undertone throughout. The script employs a circular structure; the film begins and ends with scenes of bureaucratic processes, emphasising the cyclical and inescapable nature of the protagonist's predicament. The dialogue is sharp, full of irony and double meanings that critique the absurdities of both the characters' lives and the society in which they live. The narrative also uses a mixture of episodic and linear narrative. While the plot follows José Luis's gradual descent into his unwanted profession, it is interrupted by a series of vignettes that highlight different facets of the absurd bureaucratic machinery and societal apathy towards the ethics of capital punishment. This structure allows Berlanga to explore a wide range of themes and characters, offering a multifaceted critique of Spanish society under Franco.

    Luis García Berlanga's personal style is evident throughout El Verdugo, in its unique blend of dark humour, social criticism and empathetic storytelling. Berlanga has a knack for finding humour in the bleakest of circumstances, and this film is no exception. His ability to balance humour with pathos allows the audience to both laugh at the absurdity of the characters' situations and feel a deep sense of empathy for them. This duality is a hallmark of Berlanga's style and sets him apart from other directors of his era. Furthermore, Berlanga's use of ensemble casts and long takes is a stylistic choice that allows for naturalistic performances and a more immersive viewer experience. The film's pacing is deliberately slow, reflecting the mundane reality of the characters' lives and reinforcing the film's satirical edge. Berlanga's style is one of subtlety; he avoids overt didacticism, preferring instead to let the absurdities and contradictions of his characters' world speak for themselves.

    "El Verdugo is a film that operates on multiple levels, blending comedy, tragedy and social criticism into a seamless narrative that is both entertaining and thought-provoking. Through its skilful use of symbolism, philosophical inquiry and stylistic innovation, the film stands as a powerful indictment of the moral compromises that society often demands of its individuals. Berlanga's unique voice as a director shines through, making El Verdugo not only a significant work of Spanish cinema, but a timeless exploration of human frailty, institutional absurdity and the often inescapable nature of fate.