Solid feature debut from Spanish legendary filmmaker Carlos Saura. Although not completely polished, mainly due to its writing, the realistic and naturalistic feel that would characterise this filmmaker is already appropriately present via its great locations and the way they are captured.

A group of six youngsters from the outskirts of Madrid spend their days up to no good, committing various sorts of petty thefts and spending it all in booze and parties. Their only hope is that one of them, Juan (Óscar Cruz) makes it big as a bullfighter so he could take the entire group out of poverty.

The basis of the film takes upon a very neorealistic approach, not only story wise but also aesthetically. Nonetheless, its success in these two different areas differs.

While its visual presentation is undoubtedly marvellous, thanks to first of all a great array of locations: the slums in the outskirts of Madrid next to the Manzanares river where our characters live, the interiors of the houses, bars, clubs as well as the bullfighting practising arena where they spend most of their time, and several iconic landmarks such as the Santiago Bernabéu stadium, the market of Legazpi, the flea market of El Rastro, and the bullfighting arena of Vista Alegre where they commit many of their crimes. But that would not be a thing without the great photography of Juan Julio Baena, as he captures to perfection both the beauty in the misery and the various moods that each place conveys.

Unfortunately, the combination of a very distinguishable unprofessional cast and mostly weak script weaken the core of the film. When it comes to the acting, it is true that one of the unwritten rules of neorealist cinema was to use untrained people and many times this would work in the context of the story as the protagonists would feel identified in the struggles of the characters they are portraying. I am not denying that this was the case in this situation, as I am completely unaware of it, but what I can say is that most of the young cast never appears to be fully comfortable with the work they are doing. The only exceptions are Manuel Zarzo (who plays Julián and who, at the time, was already a professional) and Luis Marín (who after playing Ramón would enjoy of an extensive acting career).

The writing is equally uneven. While it is true that the growing risk and violence perpetrated by the gang is well tied to the pressing needs of the group to support Juan’s aspirations of bullfighting, and the tension in those scenes is very well built making up for quite entertaining robbing sequences, on the other hand the plot feels way too superfluous and simplified. The characters lack of profound background from which as an audience we could empathise with their unlawful and immoral actions (Juan has a proper job, why couldn´t the others have one too), and their relationships are quite rushed, with several arguments that are quickly solved and flimsy love interests (presumably driven by the sole interest in money by the main female character, Visi played by María Mayer).

In summary, this is for sure a great formal effort which sadly enough lacks in substance. The plot thread is there, it is understandable, and it is logical, but it lacks nuance and depth. Contrarily to its imagery which so richly fills the screen with multiple inputs that paint a great backdrop for the environment in which our protagonists move.