Pon Un Hombre En Tu Vida
(Put a Man in Your Life)
            Thanks Stefan for the pics! Thanks also to Caleb Jones for the translation of the text. (The auto translator from AltaVista provided a less than perfect text and Caleb stepped up to the plate and fixed it for us!) Caleb aslo wrote a story with these pictures in mind called A New Life There has been a lot of inquiry about this movie. If anyone finds more info please forward it here and I'll post it. With your help this site will get better & better! |
The movie starts with Juan Antonio (Toni Cantó), a
soccer team trainer,just divorced and very macho, who arrives at a hotel to prepare his
sports equipment prior to a game. He has several accidental run-ins with the lovely
Belinda (Cristina Marcos), a singer of a female musical group that brightens up the stay of the guests. She is on the verge of marrying someone who seems to fail to pass the test of the presentation to her parents -- the manager of the establishment (Pere Ponce). As a result of a violent collision while both are swimming at the center of the swimming pool, Belinda's shocked spirit is placed in the body of Juan (Toni), and vice versa, his soul into her. Beyond the initial exposition, somewhat preposterous, their similar situations lead to a humoristic exploration of the masculine and feminine behaviors. Along with the sentimental entanglements, to which greater emphasis occurs, this humor appears in the film and is responsible for some good moments, however, the absolutely flat characters of the characters and the performances of the actors prevent these good moments from being more frequent. While Toni Cantó acts with enough bravado in the body of an American sports trainer with a touch of "a crazy person", the characterization contrasts with the later crudeness of a male body with a female spirit. Cristina Marcos, who already comes across as a woman on the inside as well as the outside had trouble being less "feminine," and was not able to give the sensation of being a man in a different envelope, limiting herself to exaggerate until the movements to walk, to gesture and to speak in a supposedly manly manner became artificial impressions of manhood. It is certain that the script was difficult to carry out, but skilled acting was essential (but not often enough obtained) so that the comedy worked like it was meant to. On the other hand, from the beginning there are direction failures, with which one falls easily in the racket, and sonorous excesses, these of long tradition in the sort, like topical sequences like the dismissed one as a single person.
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