El Cuerpo (a.k.a. The Body)(2012)

Directed by Oriol Paulo; produced by Mercedes Gamero, Mikel Lejarza, Joaquín Padró, Mar Targarona

Detective Inspector Peña (José Coronado) is called to a late-night incident involving a traffic accident. Automobile mishaps are not his field, however: he was summoned because the man struck by a car – and now in a coma – was a morgue guard, and had called the police before fleeing in terror from his work-place. When Peña and his team arrive at the morgue, they discover the body of Mayka Villaverde (Belén Rueda), deceased just that day, to be missing – and signs that the person or persons responsible may still be on the premises.

This is the beginning of a thrilling story of deceit, murder, obsession and, perhaps, the supernatural. El Cuerpo relies most for its quality on the writing, though this is not to imply that the acting or direction are inferior. Indeed, they are just the opposite. Not having seen many Spanish movies, I am not familiar with any the players in this one; if they give similar performances in other work, then I expect them to have successful careers.

Coronado may be seen to be the lead, but he really shares that spot with Hugo Silva, as the dead woman’s husband, Álex Ulloa. To a lesser extent in terms of screen-time but not in significance to the plot, Rueda must also be mentioned. In fact, an element of the story depends upon her portrayal of the powerful and manipulative Mayka. Though the other actors are not as important, perhaps Aura Garrido’s part as Carla Miller, Ulloa’s girlfriend, should be considered, as well.

The direction is very well-handled. It makes effective use of what might be seen as thriller – even horror – movie stereotypes, such as the dark and stormy night. While many films utilise them as if the makers hope to be seen as original, one suspects that Paulo includes them for a purpose, to lead the viewer along a certain path. Whether it’s the path the viewer should take or whether he’s being fooled is what must be determined.

The writing, particularly in demonstrating character, is commendable. As stated, Mayka’s personality is vital to the story, and she is effectively displayed not only as someone who always gets what she wants, but who is insecure about keeping it, once she gets it. Peña’s character has been clearly traumatised by the loss of his wife years before, and that influences his behaviour on the job, while Ulloa may even create sympathy, despite his infidelity to his wife.

The story is the key ingredient of El Cuerpo. It reminded me in some ways of the cerebral work of William Link and Richard Levinson. The viewer must pay attention. If one doesn’t, the essentials of the plot are rehearsed later, for the resolution, but one may kick oneself for neglecting them along the way.

That resolution may not appeal to everybody. Does it stretch credulity? Is it too far-fetched? I don’t believe it to be either unbelievable or unrealistic. It’s rather like a jigsaw puzzle: everything works to create a whole, and the way the pieces fit requires no forcing or cheating. Whether one likes the image the completed puzzle presents is another matter. I found El Cuerpo to be intelligently and cleverly written.

One of the interesting aspects of El Cuerpo is that even if the viewer doesn’t think the story succeeds, its execution will likely be enough to entertain and thrill. And that goal won’t disappoint many viewers.