Prohibido enamorarse

Prohibido enamorarse

An old and seriously ill man, who lives with his son, meets an older woman, who is suffering the same cirumstances like he, and soon starts to fell better and becoming sane.

  • Rating:
    4.00 out of 5
  • Length:87 minutes
  • Release:1961
  • Language:Spanish
  • Reference:Imdb
  • Keywords:based on play,   disease,  

An old and seriously ill man, who lives with his son, meets an older woman, who is suffering the same cirumstances like he, and soon starts to fell better and becoming sane. . You can read more in Google, Youtube, Wiki


Prohibido enamorarse torrent reviews

Chris B (nl) wrote: i liked this. not original but quite funny. could have had some of the basic premise expanded and grossed up a little.

JE A (nl) wrote: Gorgeous. Absolutely GORGEOUS film. There's been comparisons to Cronenberg (as a Canadian), but I'd say he's closer to Tom Ford. Some of his shots remind me of early Kubrick (high high praise). Just immense storytelling.

Lee W (mx) wrote: Entertaining and kinda heartbreaking as well...

susana g (fr) wrote: Very funny movie if u don't like it then don't watch it

Chris S (ag) wrote: "I didn't really know who Frank Whaley was till I saw this and Swiming With Sharks. Honestly I didn't really know that most of what happened in the movie actually happened to Whaley in real life. A dark and powerful character driven study"

Zachary B (us) wrote: Loved watching this when I was younger!

Jason A (us) wrote: This is the weakest of the series, and definitely the one where Sasha Mitchell is in full on Cody from Step by Step form here. David Sloan was always a likable, fun character, but for some reason, the makers decided to turn him into a bumbling, semi-retarded idiot. The plot is simple, David and Xian travel to Rio and get involved in a bunch of stuff. Thankfully, this one was completely ignored in the fourth movie.

Scott R (us) wrote: An all star cast makes up this romp of a comedy. But The relationship focus of four different stories overlapping over Oscar weekend in LA also has scenarios that hit very close to home. For instance Fonda and her family are trying to reconcile divorce, Matthau is caught cheating, Cosby is conflicting with prior over a couple's vacation and smith and Caine try to come to terms with their marriage. These are all real life scenarios that can be funny, but the truthful aspect of it makes it memorable.

Edith N (it) wrote: Okay, not [i]all[/i] flesh. As with any other post-war movie worth its salt, there is also trading in penicillin. Mostly, though, there are the women--and the stolen cow. The girls themselves note that the price per pound of beef is the same as they charge for an encounter. It's pretty grim stuff, really. However, trading in penicillin is trading in flesh of a kind--not because the drug itself is flesh, but because it is a device for making flesh healthy. It saves lives, which is a kind of trading for the same commodity as the women and the cow-thief. Each set of traders, too, has a set of rules. The penalties are harsh if and when the rules are violated, but they'd been made clear at the beginning. Maya (Yumiko Nogawa) was raped by American soldiers in the wake of World War II. Desperate and alone, she goes to Tokyo, where no one will know her. She falls in with a band of young prostitutes, who take her in and make her one of them. She knows the rules--no pimps, no outsiders, and no giving it away. If any of the group has sex without taking payment, the others fall on her. They beat her, humiliate her, cut off her hair, and cast her out. Maya sees this happen; she knows it will happen to her if she fails them. And then, Shin (Jo Shishido) walks into their lives. He has killed an American serviceman, holds a consignment of stolen penicillin, and ends up seeking the protection of the girls. What is most striking about the film, I think, is its use of colour. The streets are desolate. Drab. Everything is in shades of brown and grey. Walking through this are the prostitutes, each in her own glowing colour. The sole exception is Machiko (Misako Tominaga), who wears black--and does not dress in the flashy Western way of the others. She still wishes for a traditional life, despite the desperation that makes her sell her body alongside the others. One suspects that she services a different sort of clientele, the kind who longs for the old days before the war, not the younger, more grasping kind that goes for the others. And, of course, Machiko falls in love. The girls are all seeking something, I think. Most seek independence, freedom, a way out from under the thumb of men. Hence the "no pimps" policy--and, I think, the "don't give it away" policy as well. However, Maya seeks to forget and Machiko seeks to find anew. Machiko, we learn, was married once. Presumably her husband, like so many other Japanese men of the time, was killed in the war. Maya seeks to start anew with Shin, with a life that is completely separated from her old one. She wants to forget her rape. I think it also has its roots in the "no Americans" policy--the women are all under the thumb of America; the whole country is. And this in a world where a woman and a pound of beef will cost the same. Japanese post-war cinema is a curious thing. It is a struggle between the Westernizing influences and the desire to hold on to the past. The whole of the culture seems to be as torn as Maya. The women cling desperately to their nonchalance, their false gaiety. They flaunt their bright colours--red, green, purple, yellow--and cling to their own rules so that the rules of others will not touch them. This is the same culture of cinema that was bringing up Kurosawa to his greatest work. This film is much more obscure--[i]I'd[/i] never heard of it--but it is a good example of its type.

Arturo S (fr) wrote: Le Journal d'une femme de chambre es una pelcula de la etapa francesa del reconocido director aragons Luis Buuel; se trata de un, ciertamente cnico e incluso perverso, drama psicolgico que parece burlarse de la sociedad y sus elementos ms importantes a travs de las vivencias de una sirvienta.La historia nos muestra una refinada joven parisina que por alguna razn decide mudarse al campo a trabajar como criada de una familia aristcrata. Las cosas se ven sencillas en un principio, pero pronto toda la gente al rededor de Celestine muestra sus perversiones y su verdadera naturaleza, y todo se revela como un hipcrita juego de mscaras de todos los personajes.El da menos esperado, el padre anciano de la mujer que la contrat, muere, por lo que Celestine decide dejar a la familia para regresar a Pars; sin embargo, cambia su decisin al enterarse del homicidio y violacin de una nia, ya que ella cree conocer al criminal y decide hacer todo para llevarlo a la justicia.En esta pelcula est presente en su forma ms esencial el ambiente satrico y anarquista que rodea a la mayora de las obras de Buuel; se muestra en todos los personajes los males y contradicciones de la sociedad, la religin y del ejrcito. Es por eso que la ambigedad hipcrita poco a poco deja de desaparecer de la conducta de los personajes para mostrarlos tal como son: un anciano fetichista amante de los pies y los zapatos, un esposo guiado cnicamente por el sexo, una mujer frgida obsesionada por la limpieza y la religin, un mozo sdico y depravado seguidor de ideas de extrema derecha, militares usando sus ttulos como excusa para actuar de forma infantil y un cura bastante preocupado por que sus fieles mantengan al templo del pueblo como para prestar atencin a sus problemas; sin embargo, la estocada final est en el personaje de Celestine quien, despus de ser vista durante toda la pelcula como una vctima inmvil de los hombres a su alrededor, cambia y se muestra como una oportunista decidida a utilizar a la gente que la rodea para cumplir sus objetivos.Esta vez la crtica social est an ms presente que en otras cintas del director espaol, sin embargo, este anlisis de la moralidad ambigua carece de algn modo de la sutileza y perfeccin de stiras como Viridiana y Nazarn. Por lo que; aunque destaca dentro de su filmografa por la hermosa fotografa en blanco y negro, la cmara bien ejecutada y las actuaciones de primer nivel; por momentos la pelcula se siente sin rumbo.Le Journal d'une femme de chambre es una cinta satisfactoria y posee un par de las mejores escenas del cine de Buuel (el cadver de la nia cubierto de caracoles, Celestine caminando frente al viejo con los botines puestos, el anciano disparando a las mariposas,...), a pesar de esto, carece de la sorpresa y del atractivo de otros filmes del maestro.****

Cha t (jp) wrote: An updated remake of 'Lady For a Day' (1933) also by Capra. Still a great heartwarming story, full of great character actors and of course Ann Margaret.

Muhammad K (kr) wrote: Great movie, just like a Alfred Hitchcock's movie

Slappy M (es) wrote: So will you be if you see this one. Of course the MST3K treatment is the way to view it!