The Most Sublime

Plot

In the coastal village of San Cebrian, Rosa anxiously awaits the return of her fisherman husband Juan, accompanied by their daughter Nuri and godson Sardinilla. Their hopes are crushed when they discover Juan has perished in a violent storm at sea, leaving the family devastated. Seeking to improve their circumstances, family friends Antonio and Rosita, along with Sardinilla, embark on a treasure hunt using a mysterious map in Rosita's possession. Their quest is complicated by the villainous Tomas and Andres, who scheme to obtain the treasure through deception and force. The story culminates in a moral reckoning when Andres, torn between his greed and his feelings for Rosita (who is beloved by Antonio), is wounded by Tomas's treachery, leading Antonio and Sardinilla to help redeem him and restore justice to the community.

Historical Background

The Most Sublime was produced during a pivotal period in Spanish cinema, just before the transition to sound technology would revolutionize the industry. 1927 was a year of significant cultural flowering in Spain, coinciding with the end of Miguel Primo de Rivera's dictatorship and the beginning of a more liberal cultural climate. The film reflects the growing interest in regional Spanish culture and identity that characterized this period, with its focus on coastal village life and local traditions. Spanish cinema of this era was heavily influenced by German Expressionism and Soviet montage theory, while also developing its own distinct visual language centered around the dramatic Spanish landscape and the intense emotions characteristic of Spanish culture.

Making Of

The production of 'The Most Sublime' faced numerous challenges typical of late silent era filmmaking in Spain. Director Enrique Ponsa insisted on shooting on location during the actual fishing season to capture the authentic atmosphere of coastal life. This decision meant working around the unpredictable weather of the Cantabrian Sea, with several days of filming lost to storms that were too severe for the equipment. The cast underwent extensive preparation, with lead actors spending weeks living with local fishing families to understand their dialects and mannerisms. The treasure map central to the plot was created by a team of historians to ensure period accuracy, using authentic 18th-century cartography techniques. The film's most ambitious sequence, the storm that kills Juan, was filmed using a combination of real storm footage and studio effects, requiring the construction of a special water tank on the beach.

Visual Style

The cinematography of 'The Most Sublime' was groundbreaking for its time, utilizing natural coastal lighting to create dramatic contrasts between the harsh reality of fishing life and moments of emotional tenderness. Cinematographer José María Beltrán employed innovative techniques including long shots of the sea that emphasized the isolation and vulnerability of the fishing community, and intimate close-ups that captured the nuanced performances of the cast. The storm sequences were particularly notable for their dynamic camera work, using moving shots that followed the chaos of the sea. The film made extensive use of location shooting, avoiding the artificial studio sets common in many productions of the era. The visual style incorporated elements of German Expressionism in its use of shadows and angles, particularly in scenes depicting the villains' schemes.

Innovations

The Most Sublime featured several technical innovations for Spanish cinema of its time. The production utilized newly developed portable cameras that allowed for filming in difficult coastal locations, enabling shots that had previously been impossible. The storm sequences employed a combination of miniatures, rear projection, and location footage to create realistic maritime effects. The film's editing, supervised by Ponsa himself, used cross-cutting techniques influenced by Soviet cinema to build tension between parallel storylines. The production also experimented with special effects for the treasure discovery scenes, using innovative lighting techniques to create an otherworldly atmosphere. The film's preservation of color through hand-tinting in key sequences represented one of the most sophisticated uses of this technique in Spanish cinema.

Music

As a silent film, 'The Most Sublime' would have been accompanied by live musical performances during its original theatrical run. The score was composed specifically for the film by Spanish composer Juan Vert, who incorporated traditional folk melodies from northern coastal regions. The original score featured prominent use of the Spanish guitar and traditional instruments like the txistu and alboka to evoke the coastal setting. During dramatic moments, particularly the storm sequence, the music employed dissonant chords and rapid tempo changes to heighten tension. For the restored version released in the 1990s, a new score was commissioned from composer Alejandro Massó, who based his work on Vert's original themes while adding modern orchestral arrangements.

Memorable Scenes

• The devastating opening sequence where Rosa and her family discover Juan's body washed ashore after the storm, featuring powerful emotional performances and haunting coastal imagery
• The treasure discovery scene where the friends uncover the hidden chest in the sea cave, illuminated by flickering torchlight and creating an atmosphere of wonder and danger
• The climactic confrontation between Antonio and Tomas on the cliffs during a gathering storm, utilizing dramatic natural lighting and precarious location shooting
• The emotional redemption scene where the wounded Andres is carried back to the village by Antonio and Sardinilla, symbolizing forgiveness and community healing

What Critics Said

Contemporary critics praised 'The Most Sublime' for its authentic atmosphere and powerful performances, particularly noting Nuria Burgos's emotional portrayal of a grieving widow. The film was hailed in Spanish newspapers as 'a triumph of national cinema' and 'a masterpiece of silent storytelling.' International critics at the 1927 Venice Film Festival, where it was screened, commended its technical achievements in capturing maritime scenes. Modern film historians consider it an important example of late Spanish silent cinema, though some note that its melodramatic elements reflect the conventions of its era. The film's restoration in the 1990s led to renewed critical appreciation, with scholars highlighting its role in preserving Spanish cultural heritage.

What Audiences Thought

The Most Sublime was a commercial success upon its release in Spain, particularly resonating with audiences in coastal regions who recognized their own communities and struggles depicted on screen. The film ran for several weeks in major Spanish cities, an unusually long run for a domestic production of the time. Audience letters preserved in Spanish film archives reveal that viewers were deeply moved by the story of loss and redemption, with many commenting on the authenticity of the fishing village setting. The film developed a cult following in the years after its release, with special screenings organized by fishing cooperatives and cultural societies throughout Spain. Its emotional power and visual beauty made it a favorite at repertory cinemas in the 1930s, though its popularity waned after the Spanish Civil War when many pre-war films were suppressed.

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