A Manuel Iborra film “El Tiempo de la felicidad” starring by Ver?nica Forqu? and Antonio Resines became to be classic in comedy ganre. The film is a comedy about a bohemian family living on Ibiza in the 70’s. This is a light, family-oriented dramatic comedy with a predictable cast of characters. The plot is based on family history on the island of Ibiza off the coast of Spain where a disfunctional family deals with internal strife of a separation, free love, and rebellious teenagers. It’s summer 1970, and the hippie movement has taken over an entire generation. In a beach house, a very unique family begins their summer vacation, which will change everyone’s lives: Fernando (the father) an actor, Julia (the mother) devoted housewife, and their four children- Chucho (the eldest), Elena (the intellectual), Juan (car-crazy) and little Veronica. The parents are played by two of Spain’s best adult actors, but the children and their friends are played by young actors who have recently blossomed into Spain’s biggest stars: Fele Martinez, Liberto Rabal, Pepon Nieto, and Carlos Fuentes.
Love and happiness is a leutmotive of this movie. Julia is married to adulterous Fernando, who departs when he’s caught in the act by Julia. Julia’s two daughters Elena and Veronica are both attracted to hippie Ezequiel. Meanwhile, Julia’s eldest son Cucho falls for free-spirited Susi. Julia attempts to keep her family together amid the hedonistic lifestyles of the ’70s. Julia’s ambitions to be an actress have been thwarted by her marriage to the drunken, egocentric Fernando, who uses the free love ideal to defend his adultery and who walks out on Julia after she finds him having sex with someone else. The children, meanwhile, suffer the standard growing pains: Cucho falls in love, after his fashion, with hippie Susi; Veronica falls for hippie Ezequiel; and Elena falls for both Ezequiel and bike-riding, free-spirited Leon.
With the flame of narrative tension running low, the picture depends on character and mood to keep the audience involved. Performances are excellent, with Forque alert to every dramatic nuance and a frenziedly physical Nieto, as Cucho — whose illness stops the family from falling apart completely — also a standout. I like images of daughters, it seems that actresses are strong in their roles, though the men who are the objects of their attention are less well formed. This is a pic that seems to have at least one character too many.
Pic’s most interesting idea is expressed through the mother: the conflict between liberal ’60s ideals and the more prosaic business of keeping a family together. Forque does a good job, veering from laughter to tears with a single turn of the head as she uncertainly hands out advice while learning to live without a man and rekindle her theatrical ambitions. By the end, the sheer force of Iborra’s nostalgia almost convinces that those hedonistic years may actually have been as fun as they are supposed to have been.
The movie’s pleasures are mainly in its atmosphere. This movie makes us to breath with air of peace, liberty, defiance and love. The hippie movement express the feelings of all generation. Though picture is well crafted and intermittently affecting, with some terrific perfs, and should resonate with a Spanish generation who cried on the day Janis Joplin died, it is hard to see offshore auds reacting to its Iberian vision of the hippie ethos with anything but mild astonishment. But personal time of happiness can also mean happiness for others.
A family struggles through the trials and tribulations of life with rebellious teenagers. They all must face the virtues of separation and free love.