Martyrs of the New Age The attitude of the Spaniards to the Franco regime is somewhat akin to the opinion of the inhabitants of the post-USSR about Stalin. It seems that Spain was lifted from ruins, and did not let it be dragged into the madness of the Second World War, despite Hitler’s almost ultimatum demand, and national pride was revived. But at the same time he unleashed a massacre on the territory of his country, divided it into two irreconcilable camps, staged mass political repression, established strict ideological censorship - except that he did not eat children alive. And it hasn't been proven yet. In general, it was necessary for the caudillo to peacefully retire to the other world, a mass debunking of the “cult of personality” began, then flared up, then subsided in accordance with the prevailing views in society. What did not prevent, by the way, to make films that tried to tell about the civil war as objectively as possible, to present it as a national tragedy, in which there are neither right nor guilty.
Benito Sambrano’s film does not fall into this category. Filmed with the active assistance of Warner Brothers, Sleeping Voice in full accordance with modern Hollywood tradition divides the world into two opposite camps, one of which is white and fluffy, the other is an incarnation of world evil. There is no need for the viewers to break their heads over eternal questions - let them look and penetrate. Moreover, in this case there is something to look at: the dramatic story of two sisters caught in the grindstones of the civil war, filmed extremely emotionally and convincingly; and Maria Leon, who played the role of the youngest of them, promises to become a real star. As for Inma Cuesta, in the image of Hortense, she is so similar to the young Penelope Cruz that it seems that the director saw the latter in her place. To preserve the individuality in such circumstances was an extremely difficult task for the young actress, which, however, did not prevent her from coping with her with dignity.
But in order for the story of Hortense and Pepita to turn into an epic tragedy, the authors of the film, based on the popular novel by Dulce Chacon in Spain, needed the appropriate background. Which was created with the help of abundant watering with black paints of the winners-Frankists. I don’t know how it was in the literary source, but in the film, none of the characters of the opposite Republican camp has a single positive quality. Except for a couple of prison guards, but they're apolitical creatures. Convinced supporters of Franco are either stupid soldiers, religious fanatics, or simply killer maniacs. From which, apparently, the younger generation should draw the appropriate conclusion. They are not even human beings, but angels in the flesh. Knights without fear and reproach, ready to die for the sake of higher ideals, endure unbearable tortures with the patience of Christian martyrs, confident that in spite of everything, victory will be theirs.
That's what the older sister is. It supports the weak in spirit, does not compromise principles and does not betray ideals. The birth of a son in inhuman conditions gives her such power that she becomes like Madonna. This is clearly emphasized by the scene in the prison church, where, with the help of optimally found angles and lighting, Hortensia with a child in her arms looks like she came down from icon paintings. However, with religion, as with many modern Spanish directors, Sambrano has a complicated relationship. But that's a little lower. In the meantime, he sculpts a saint from the heroine of Inma Cuesta and is not at all ashamed. Because for the earth he has Pepita. A sweet, naive child from the province, rushing to a huge city to save his lost sister. She sincerely believes that if you try very hard, fall at the feet of the powerful of this world, they will understand, forgive, see. That can still be brought back. She manages to get a job as a maid in the family of a prominent Francoist figure, in which everything is ruled by a determined and unforgiving dona Amparo - an ardent Catholic and a convinced adherent of the caudillo. But neither she nor anyone from her entourage is that they are not able - they simply do not want to help Pepita, although they seem to share her grief in words. But the Communists must burn in the furnace of fire, and preferably alive. Pepita, in despair, finds connections with the underground, led by Hortense's husband Felipe. But the attempt to come up with a plan to release her sister fails. We can only hope for a miracle. Which will not be - because the Absolute Evil came to power, which by 1940 had acquired too much power.
And the forces of Good need martyrs to make their death a redemptive sacrifice, their blood has undermined the foundations of the Black Castle, their lives have become an example for the new knights without fear or reproach. Therefore, the death of Hortensia is necessary. How necessary is a symbolic act when the son of the deceased Madonna remains in the hands of a naive and pure Pepita. Who, too, has already partook of mental and physical suffering in the Dark Kingdom. And here comes the extreme anticlericalism openly demonstrated by Benito Sambrano. The Church is closely associated with the Devil-Franco. So she serves Satan. Therefore, the most disgusting types of villains are reserved for the images of priests and nuns. Hence the mockery of the ritual of communion, which is arranged by the “sisters of mercy” attached to the prison, forcing the feet of the doll purified by Jesus to kiss. Hence Hortense's proud refusal of the cross and prayer before execution. In this context, it is perceived not as a conscious gesture of a convinced Communist, but as a sacred rite of renunciation of the Church - the minister of World Evil.
And yet, despite the frank didactic and black-and-white picture of the world, and perhaps even thanks to it, “Sleeping Voice” makes a strong impression. Rejecting intellectual reflection and clearly placing the emphasis between Good and Evil, Sambrano created a large-scale epic tragedy that goes beyond a single private history. And thanks to the brilliant acting work of Maria Leon, he also breathed the spark of life into her. Therefore, in the final of the picture, the viewer experiences a real catharsis, despite his political leanings. So the film achieves its goal, forcing us not to think – to empathize with the heroes and take an example from them. Perhaps in the Soviet Union this example would have been appreciated. But in modern Russia, with its endless search for truth, it is unlikely.