Los ojos dejan huellas (Sáenz de Heredia, 1952): Popular and Farcical as a Response to the Dominant Discours

Abstract

Although crime fiction’s formulaic nature served to foster Francoist ideology, not all the films belonging to this genre are susceptible to an interpretation that confirms its ideological value. By coming together with the popular genre, which is essentially irreverent and anti-establishment, it is confirmed that police fiction of the 1950’s can also transgress well-established codes. This is the case of Los ojos dejan huellas, part of whose plot sets itself as a sort of parody of the traditional detective story. Therefore, a certain ironic tone can be perceived that subtly pulls away from the official message. This is because one of the few forms of dissent in the cinema of the first Francoist period could only happen through acting, particularly by supporting actors. In addition, the fact that it was an international co-production filmed by one of the most regime-sympathetic directors and ends with the mandatory exemplary message contributed to softening the censorship decision.