Scandalously neglected and all but forgotten in recent years, Leopoldo Torre-Nilsson (1924-1978), perhaps the first world-class Argentinean director, enjoyed a certain vogue in this country in the early 60s--despite the stiff competition from France, Italy, and Japan in offering personal and stylistically expressive cinema. Among his films distributed in that era, La casa del angel (1957)--also known back then as End of Innocence--is almost certainly the most impressive, a gothic tale of female adolescence with an arresting and original flashback structure and a baroque visual style worthy at times of Orson Welles (especially in his Magnificent Ambersons mode). Written, like many of Torre-Nilsson's other major features, by his wife, novelist and playwright Beatriz Guido--adapting in this case one of her own novels--this is a haunting and captivating mood piece that almost never turns up, a rare viewing opportunity courtesy of the Chicago Latino Film Festival. (It will screen again at the same time and place next week.) Village, Monday, April 15, 6:15, 642-2403. --Jonathan Rosenbaum
Art accompanying story in printed newspaper (not available in this archive): film still.