| Carmelo Gómez | ... | Forteza | |
| Maribel Verdú | ... | Manuela | |
| Antonio Resines | ... | Sargento Andrade | |
| Roberto Álvarez | ... | Don Constantino | |
| Eduard Fernández | ... | Nardo | |
| Elvira Mínguez | ... | Úrsula | |
| Abel Vitón | ... | Doctor | |
| Andoni Gracia | ... | Emilio | |
| Julio Vélez | ... | López | |
| Adrian Ramirez | ... | Tito | |
| Mario Martín | ... | Lisardo | |
| Felipe Vélez | ... | Concojo | |
| Carolina Bona | ... | Felisa | |
| Alex O'Dogherty | ... | Orozco | |
| José Alias | ... | Buhonero | |
| Benjamín Seva | ... | Jacinto | |
| Anartz Zuazua | ... | Pepín | |
| José Coromina | ... | Gitano (as José Colomina) | |
| Elena Figueroa | ... | La Pastora | |
| Arlette L. Santoyo | ... | Obdulia | |
| Gonzalo E. de José | ... | Falangista | |
| Carlos E. Casero | ... | Maquis #1 | |
| José Antonio Lobato | ... | Maquis #2 (as José A. Lobato) |
Directed by | |||
| Gonzalo Suárez | |||
Writing credits(in alphabetical order) | ||
| Manuel Hidalgo | story "El Portero" | |
| Gonzalo Suárez | writer | |
Produced by | |||
| Andrés Vicente Gómez | .... | producer | |
| Marco Gómez | .... | associate producer | |
Original Music by | |||
| Carles Cases | |||
Cinematography by | |||
| Carlos Suárez | |||
Film Editing by | |||
| Juan Carlos Arroyo | |||
Art Direction by | |||
| Wolfgang Burmann | |||
Set Decoration by | |||
| Javier Mampaso | |||
Costume Design by | |||
| Lala Huete | |||
Makeup Department | |||
| María Amaro | .... | assistant makeup artist: second unit | |
| Manolo Carretero | .... | hair stylist | |
| Jorge Hernández | .... | makeup artist | |
| Alfonso Martínez | .... | hair stylist: second unit | |
| Lucía Orengo | .... | assistant makeup artist | |
| Teresa Rabal | .... | makeup artist: second unit | |
Production Management | |||
| Luisa García | .... | production manager | |
| Óscar González | .... | second assistant production manager | |
| Santiago Mato | .... | assistant production manager | |
Art Department | |||
| Leopoldo Báez | .... | props (as Leo Baez) | |
| Salvador Comes | .... | painter | |
| José Fillola | .... | construction coordinator | |
| Ricardo García | .... | assistant props | |
| Pepín | .... | assistant decorator | |
| Elsa Suárez | .... | set decorator trainee | |
| Teo Vila | .... | property master | |
| Juan Ignacio Viñuales | .... | props | |
Sound Department | |||
| José Antonio Bermúdez | .... | sound mixer | |
| Luis Castro | .... | sound effects | |
| Ángel Gallardo | .... | dialogue recordist | |
| Antonio García | .... | sound effects recordist | |
| Carlos Garrido | .... | sound mixing technician | |
| Fabio Huete | .... | boom operator | |
| Iván Mayoral | .... | dialogue recordist | |
| James Muñoz | .... | sound editor | |
| David Rodríguez | .... | sound assistant | |
| Antonio Rodríguez 'Mármol' | .... | direct sound (as Antonio Rodríguez) | |
| José Luis Vázquez | .... | assistant sound editor | |
| Ricardo Viñas | .... | sound stereo consultant: Dolby | |
Special Effects by | |||
| Reyes Abades | .... | special effects | |
Visual Effects by | |||
| Félix Bergés | .... | digital effects: Esfera (as Félix Berges) | |
| Jorge Calvo | .... | digital artist: title sequence, MADPIX Company | |
| Pablo Núñez | .... | optical effects: Story Film | |
Camera and Electrical Department | |||
| Rupert Ananda | .... | second assistant camera | |
| Francesc Brualla | .... | gaffer | |
| Luis Miguel Daza | .... | electrician | |
| Diego Escribano | .... | key grip | |
| Ángel Gómez | .... | electrician | |
| Alfredo González | .... | electrician | |
| Igor Iglesias | .... | video assist operator | |
| Juan Leyva | .... | assistant camera (as Juan Leiva) | |
| Quim Llenas | .... | still photographer | |
| Emiliano Merino | .... | best boy electric | |
| Cristina Noé | .... | assistant camera | |
| Pablo Paredes | .... | second camera operator: second unit | |
| Félix Pascual | .... | best boy electric | |
| Chus Rambal | .... | second assistant camera: second unit | |
| Andrés Sánchez | .... | electrician | |
| Lalo Suárez | .... | second assistant camera | |
Costume and Wardrobe Department | |||
| Raquel del Val | .... | second assistant costume designer | |
| Lena Mossum | .... | assistant costume designer | |
| Eva Salas | .... | wardrobe | |
| Macarena Soto | .... | assistant costume designer | |
Editorial Department | |||
| Francisco Amaro Gómez | .... | second assistant editor | |
| Vanessa Marimbert | .... | assistant editor | |
Music Department | |||
| David Casamitjana | .... | music recording engineer | |
| Carles Cases | .... | orchestra conductor: Gonçal Comellas Orquesta | |
Other crew | |||
| Piti Alonso | .... | press | |
| Francisco Amaro | .... | administrator | |
| María José Barba | .... | secretary | |
| Javier Bellot | .... | press | |
| Giles Bones | .... | press | |
| Patricia Bonet | .... | production secretary | |
| Catalina Cabrera | .... | script supervisor | |
| Juan Campos | .... | production coordinator | |
| Sol Fernández Gimeno | .... | catering | |
| José Fernández | .... | accountant | |
| Salvi García | .... | press | |
| Juan Gatti | .... | title designer | |
| Antonio López | .... | production assistant | |
| Pablo Núñez | .... | title designer: end titles, Story Film | |
| David Sánchez | .... | press | |
Thanks | |||
| Jorge Raúl Alonso | .... | thanks | |
| José Benito | .... | thanks | |
| Marcelino Buendía | .... | thanks | |
| Jesús Gutiérrez | .... | thanks | |
| Juan José Llamazares | .... | thanks | |
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| Carne trémula | El crimen del padre Amaro | Die Fälschung | Diarios de motocicleta | Machuca |
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| Full cast and crew | Company credits | IMDb Drama section |
| IMDb Spain section | Add this title to MyMovies |
Gonzalo Suárez has only really stood out in his superb TV adaptation of "Los Pazos de Ulloa" based on the novel by Emilia Pardo Bazán, and going by what other light fare he has produced to date, I did not expect much from "El Portero".
Which is what I got.
I cannot help thinking that if you get a bit stuck with the same old faces over and over again, your credibility wanes, to such a degree that you begin to question casting criteria. Carmelo Gómez seemed off key, and Antonio Resines has made a few films - not many - which are worth remembering, but above all seems to go in for more trivial matters. Together with Maribel Verdú and Elvira Mínguez - probably the best in this film - the cast would suggest being something like being called attractive. However, something failed to click; maybe because the film was on too late at night; maybe I have already seen too many films harking back to the Franco era.......
A supposedly famous goalkeeper from Madrid whose claim to fame stems from having stopped nine successive penalty kicks in league matches, turns up in the middle of beautiful post civil war Asturias, and gets entangled with the "maquis".
The "maquis" were groups of men, with a few women, who took to the mountains after the civil war, dedicating their time to blowing up or sabotaging anything which would upset the Franco régime. These groups mostly operated in Asturias, but also in Euskadi (Basque Country), Navarra, Cantabria (Santander) and a few in Galicia. To get an idea of their operations you might like to read Hemingway's novel "For Whom the Bell Tolls" set in the "sierras" north of Madrid, and also turned into a film. A few isolated "maquis" were still operating well into the 1960s. They lived on what they could hunt, what local people gave them, or what they stole.
The story being enacted just did not appeal to me very much and I could not suppress several yawns amid yearnings to tuck myself into bed just as soon as possible.
Magnificent photography in the splendour of Asturias, which alone made it worth while keeping with the film to the end credits.