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阿根廷新浪潮导演托雷-尼尔逊的经典作之一，大概也是最早被欧洲电影界所发现并获得赞誉的托雷-尼尔逊作品，获得1962年嘎纳国际电影节最佳导演金奖。本片改编自著名女性小说作家Beatriz Guido的短篇《Convalescencia》。 Diverse Styles Disrupt 'Summerskin' (By Tomas R. Guffilermo) "Summerskin" is my first Torre Nilsson film, proved an interesting experience, although not enirely satisfactory. Winner of the "Grand Prize" in Cannes, and rearded as a masterpiece by many critics in the U.S., "Summnerskin" deals with the question of sex vs. spiritual love. A beautiful girl (Marcela) agrees to entertain the dying son (Matin) of her grandmother's lover. In return, she will receive a full Dior wardrobe and a trip to Paris. Martin is led to believe that he has found "true" love in Marcela. But instead, he is faced with her frigidity. Torre-Nilsson, foremost Argentine director, has given us another fine film in the tradition of his "End of Innocence". He handles his material dequately and shows taste in his technique. Torre-Nillson has not, however, found a style of his own. For the most part the film keeps a slow pace as Antonioni ("L'Avventura" "La Notte"), at which Torre-Nilsson is very dexterous. The photography of the girl against the different backgrounds, with special attention to the most insignificant of her movements, is an example. Sometimes it reminds us of Welles ("Citizen Kane"), as in the conversation between Marcela and the grandmother or the dinnertable scene near the end. At times, Torre-Nilsson employs Bergman's broad and static shots (the lonely beach), while at times the mistakes an incredibly fast tenp-(Marcela's sunbathing by k pool). To imply that a director once profit from the contributions! predecessors is foolish. And, in any case, Torre-Nilsson is lt copying, but rather working along the same lines of those name above. The problem with "Summerskin" is that it lacks unity of style. Any individual scene filmed with painstaking care (the love scene on the beach and the doctor's arrival near the ern are perfection), in the style Torr-Nilsson finds fitting. But change in pace makes the strife after effect too obvious; it calls our attention to it. As a result, the movie is a bit artificial. The spectator is aware that the movie is overworked, and not spontaeous. Fortunately this does no detract much from the favorable impression created by the dire. ness of 'the film and the beauty of its photography, which make it very enjoyable.