Mondays in the Sun (2002)

Simply Perfect

As Good As It Gets

This story has more twists and turns than a second-rate soap opera.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Los lunes al sol follows the lives of a group of Galician ship builders who have been made redundant. Fernando de Leon, the director, has commented in interviews that Brit-grit director Ken Loach is among his biggest influences. In its focus on a world of brooding, inarticulate males whose wives are the breadwinners, the film certainly suggests parallels with English films such as Riff-Raff, The Full Monty and Brassed Off. As in these films, unemployed men struggle in reconciling traditional masculinity with a post-industrial society which no longer values their skills.As usual, Leon elicits some great performances from his actors: a paunched Javier Bardem is fantastic as the sardonic womaniser, Santa; Luis Tosar is convincingly intense as his buddy José. While Santa hurls bricks at a streetlight in protest, Tosar observes his lot with a quiet, uncomprehending desperation. As in his other films Barrio and Princesas, however, Leon's improvised, episodic approach to film-making ultimately backfires: loose and meandering, the film too often loses its focus. Also, certain sequences lapse into a sentimentality which undercuts Leon's commitment to realism. This is compounded by the unfortunate choice soundtrack: limp and sugary, it lends it the feel of an overlong soap opera. Take My Eyes (Iciar Bollaín) is a much more controlled and subtle handling of Spanish social realism.

AKA: Mondays In The SunI have no idea what I just watched. Three men wander aimlessly and drink, grousing about everything and at everyone in their path. This is supposed to be a drama, but what it is, is a total waste of film, without a single redeeming quality.I have read reviews touting the performances herein as "wonderful," "beautiful," and "heroic." I'm afraid I cannot agree, unless these men were supposed to come off as the dumbest most ignorant proto-humans who ever walked.All in all? This was not a movie. It wanders throughout and loses everyone but the audience. I've watched this three times, and cannot for the life of me see what anyone sees in this garbage. There is nothing profound here, whatsoever. It's crap.It rates a ZERO/10 from...the Fiend :.

Two movies, one topic. I have watched "The pursuit of happiness" first and "Los lunes al sol" (http://www.IMDb.com/title/tt0319769/) a couple of days later. Both movies have the same rating on IMDb.com and this is frankly not the case. "The pursuit of happiness" is a remix of the "one in a million" idea: one guy against all odds, facing the worst situation, makes it. I know this is a true story, but the story of *just one* who "makes it" (which can be compared to a lottery win - because how *many* people are out there trying?) may lead to the illusion that - as long as you "want" - you *can* make it. Sort of "hang on" movie. "Los lunes al sol" instead shows you what happens to the rest - to the non - Chris Gardeners of this world and is much more realistic. The fact that "The pursuit of happiness" was nominated for an Oscar confirms that we are encouraged to watch movies which consider the fate of one, not of manys. Absurd. "Los lunes al sol" is a must see.

A title like MONDAYS IN THE SUN (LOS LUNES AL SOL) is misleading. It leads the potential viewer, also called a cinema buff, to believe he or she is going to witness something brimming with life and love and laughter -- something that incites a walk down memory lane, like AMARCORD or something. It's the equivalent of a delicately laid-out trap that has lovely pansies and gardenias but hides a black hole in which not even hope can emerge. See, this is the cheerful story of some down-and-out working-class men who find themselves unemployed. Of course, like most unemployed men, they make great strides to remedy the situation: they drink, they reminisce, they drink some more, they brood, they talk, they drink, they brood and reminisce and reminisce until all you have is one big fat essay on the Art of Stagnancy.True, I know and am fully aware that all realities were not created equal. Some people fight to come out of their situation -- as dire as it may seem -- and even though the road to success from the bottom of the pit might be rather bumpy, they triumph through perseverance. These men -- played by Javier Bardem and Luis Tosar in lead roles -- come across as whiners who would rather do as little as possible and moan about their inability to get ahead. At least, Tosar's character has a little more plausibility: his wife is now the breadwinner which besmirches his own masculinity (and for anyone unaware of Spanish culture, a man's machismo is everything), and the scene where he blows it for her when she goes to a bank to apply for a loan is all too real. It's quiet, it's tense, it's the essence of what destroys a marriage that is now on uneven grounds.LOS LUNES AL SOL is flawed by its own Neo-Realist approach to a subject such as unemployment, but denies its characters the possibility of coming through by making them escapist slobs. There is one moment of devastating horror and it happens twice: one of the men's wives has left (purportedly on an extended vacation). He holds on to the illusion she will return. Bardem takes the friend home who is too drunk to make it alone and realizes his friend is much worse off than any of them thought. It's a grim reality, to see that this is what these men's lives are worth -- abandonment and the inability to cope with reality -- and the best moment of the entire film. However, despite this powerful message, LOS LUNES AL SOL runs too long and is too plodding to sustain its weight, which is heavy.