Word: leopoldo
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Hand in the Trap. Argentine Director Leopoldo Torre Nilsson takes a Bergmanesque approach in telling a story of passion and provincial puritanism. His caustic comments on the Argentine way of life, which makes prisoners of women, are both vivid and ironic...
Geographically, Argentina's Leopoldo Torre Nilsson and Sweden's Ingmar Bergman are poles apart; esthetically, the two directors are quite close. Both record the contortions of provincial puritanism in a style of sensuous opulence. Torre Nilsson is less intense and less profound, but he has something vivid and ironic to say about a society in which women are fenced like cattle and cattle are allowed to run free...
...cruel, Italian, French or Spanish, they all amount to the same thing on the screen: vacuity writ large. But the most banal set of all lives in Argentina. Its members are as vapid, unsophisticated and coarse a covey of brightly feathered birds as I have seen in film. Leopoldo Torre Nilsson (director of End of Innocence) records their antics in Summerskin, a cheap and pretentious story in the worst possible taste...
...some years now Leopoldo Torre Nilsson has traveled to Venice and Cannes, rubbed shoulders with the film elite and seen their most experimental products. How Henry James would have loved to see those subtle Europeans seduce this naive ambassador from the New World into aping their shallowest tricks. Summer-skin is an end of innocence indeed...
Finally he turns up one of her old boy friends, a shy and impecunious painter (Leopoldo Trieste). The baron lures the fellow to his house, hires him to restore some murals, asks his wife to supervise the work, rigs a tape recorder to take down what they say, sits down in the next room, loudspeaker on and automatic oiled, to see what happens. Well, what happens is hilarious, and keeps right on being hilarious until the lovers are dead and the baron, his time served, comes home a hero and weds the woman of his heart. As the film ends...