The mighty Victoria, a cinephile adventure of pure entertainment

no spoilers

A pure entertainment Mexican movie that tells the story of a very special train is coming to theaters.

Luis Felipe Tovar is part of the cast of El podero Victoria (Photo: Cinépolis Dist)
Luis Felipe Tovar is part of the cast of El podero Victoria (Photo: Cinépolis Dist)

Leaving the room wanting to talk about the movie you just watched is an act congruent with the cinematographic experience. Also it is valid to leave the dark room in silence while thoughts, reflections and feelings are accommodated derived from what has been seen. In any of those scenarios it fits The mighty Victoria, film directed, written and produced by Raúl Ramón.

It is a work that goes back to the action of sitting in front of the television on a Sunday morning to see some of the first titles that the voluntary permanence function of Channel 5 broadcast. This is not a derogatory comment. In fact, quite the opposite. If there is one thing we should thank those Sunday morning sessions for, it was their contribution in training us as moviegoers. And that is felt with this Mexican film, that is, it breathes the creativity and manufacture of a movie buff behind it.

the mighty victory is a period film set in 1936. It is an adventure story whose plot centers on the cancellation of the railway route that connects the town of La Esperanza with civilization. The residents do not intend to sit idly by in the face of the situation and intend to create their own steam train. Obviously, it will not be so easy to put your plan into practice because there are situations and villains that get in the way.

With an extraordinary visual quality, the film has only one objective: to give the viewer a good time. Look no further. Nor does he need it. It has a spirit of pure entertainment but excellent craftsmanship. In this sense, a particular admiration of the director and screenwriter Raúl Ramón for filmmakers such as Steven Spielberg and Richard Donner, two filmmakers who knew how to entertain children, adolescents and adults from different decades with titles cataloged and reviled even as “commercial cinema” is sniffed. ”. However, such a label is really useless, especially when you’re filming as Shark (1975), ET the alien (1982), the goonies (1985), Aquila’s Spell (1985) and Deadly weapon (1987) introduced thousands of people to the taste of approaching the cinema and wanting to see more films of all kinds. Needless to say if we add to this that they contributed to people forgetting reality for two hours to get carried away by pleasant fictions on the screen.

That touch of approaching the experience of fantasizing and entertaining, and not so much for nostalgia itself, is one of the great qualities of The mighty Victoria, if not the most important. Raúl Ramón does not want to impose a discourse, or motivate towards a reflection. It simply offers the opportunity to sit down to eat popcorn, relax with the story being told, and return to the daily routine with a more relaxed soul.

There is a sequence in which a transcendent explosion is narrated. If we stick to today’s “commercial cinema”, given the production value of the film, any director would have resorted to using more than 10 cameras to capture different shots of an explosion that highlights and confirms that something is indeed burning and flying in a thousand pieces. But Raúl Ramón avoids that to opt for the simplicity that cinematographic language offers through editing.

This simplicity is one more feature to appreciate this content. From details that redirect the viewer towards Buster Keaton’s humor channeling it into Don Edgar (Edgar Vivar) to the review of relevant objects such as a pencil or a telegraph, just as Donner did with articles in my favorite toy (1982), what is simple speaks more than what is perceived.

Far from the romantic comedies that come to the billboard with the presumption of entertaining but whose narratives treat the public as an idiot, the mighty victory breaks into the offer of entertainment titles with the utmost respect for those who pay for a ticket, perhaps because the director understands that whoever sits in a seat is a true movie buff, or is about to become one.

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