Shark

When Antonio Mercero and José Luis Garci traveled to New York in the early 70s, they were climbing the Statue of Liberty when they both decided that José Luis López Vázquez had to star in his next project. Years later, that intuition would end up giving rise to one of the most traumatic images on Spanish television. The real terror is not sharks. Years before Hollywood popularized everyday fear with movies like Jawsa Spanish production of just 35 minutes achieved something even stranger: making thousands of people afraid to enter a telephone booth. The idea was absurdly simple. A man comes in to knock and discovers he can’t get out. Nothing else. But Antonio Mercero immediately understood that there was something deeply disturbing there. It wasn’t just the physical claustrophobia of being trapped inside a glass box. It was the anguish of feeling watched, ignored and finally abandoned throughout the world while everything continues to function normally around. The cabin turned an everyday and seemingly innocent object into one of the most disturbing images on Spanish television. A simple gag. The most fascinating thing is that the film began almost like a joke. Antonio Mercero, José Luis Garci and Horacio Valcárcel initially imagined a comical situation about a man unable to get out of a telephone booth. But Mercero he became obsessed with that image. For years he kept thinking about it until he found the key that transformed the story into something completely different: the protagonist I should never escape. That’s where the real terror appeared. The cabin went from being an absurd sketch to a existential nightmare. Mercero himself understood that the film had to change tone without the viewer realizing it, starting out as an almost friendly comedy of manners and ending up becoming a terrifying descent into something irrational and macabre. In fact, that gender twist continues to be one of the most revolutionary things about the work today. Kafkaesque Madrid. Much of the strength of The Cabin comes from how you use spaces completely normal to make them oppressive. The inner courtyard of Chamberí where the first part takes place functions as a small social laboratory: neighbors watching from balconies, onlookers laughing, police incapable of helping and pedestrians transforming the suffering of others into an improvised spectacle. Mercero obsessively took care of visual details to increase tension. For example, the cabin was painted red because the color generated more nervousnessand was built slightly narrower to enhance the feeling of suffocation by José Luis López Vázquez. The protagonist appeared dressed in dark clothing, “like a fly trapped in a honeycomb,” according to explained the director himself. And then there was the final trip through the peripheral Madrid of the 70s, passing through tunnels, open fields and industrial structures until arriving at the Aldeadávila hydroelectric plant, converted into a kind of mechanical underworld full of corpses trapped in other cabins. Mercero and López during filming López Vázquez and fear. Mercero needed an actor capable of sustaining practically the entire film without dialogue. The story depended on the body expression, the eyes and how the protagonist’s face evolved from initial shame to absolute despair. That’s where José Luis López Vázquez appears, who immediately understood how special the project was and got completely involved in it. The actor even asked roll chronologically to emotionally construct the deterioration of the character. during filming endured extreme heat inside the cabin and physically dangerous scenes suspended over enormous heights while the structure was transported by cranes. All of this was reflected on the screen and it is one of the reasons why the film works, because the viewer physically feel the fear of the character. López Vázquez manages to convey the humiliation of becoming a public spectacle and the horror of understanding that no one is going to save you. Paranoia in Spain. The impact was so great that it bordered on collective psychosis. What’s more, the day after the broadcast, José Luis Garci counted that he saw several people holding the door of the booths with their feet while they called to avoid being locked out. The anecdote was repeated in many Spanish cities. The paranoia reached such a point that Telefónica itself even hired López Vázquez to star in ads intended to reassure the population and convince them that the cabins were safe. The phenomenon is very reminiscent of what Spielberg would achieve two years later with shark: turning something everyday into a permanent source of anxiety. The difference is that Mercero achieved it with something even more banal. There was no need for a monster hidden underwater. A door that didn’t open was enough. More than a horror movie. Part of the greatness of The Cabin is that it continues allowing interpretations more than half a century later. Some saw a review direct to Francoismto the lack of freedom and the feeling of confinement in Spanish society at the time. Others found a reflection on human lack of communication, collective indifference or even death. Mercero always downplayed those readings and said that he was simply interested in telling the story of a trapped man. Be that as it may, that is probably where its strength lies. The movie never fully explains anything. It works like an open parable where each viewer projects their own fears. Maybe that’s why it continues to be so uncomfortable today. Because phone booths disappeared years ago, but the feeling of feeling trapped while the rest of the world watches without doing anything is still completely recognizable. Image | x In Xataka | “Hit me for real”: the story behind Sylvester Stallone and one of the most dangerous scenes in film history In Xataka | The day a man dared to go further than anyone else: a real fight with Bruce Lee where there were no limits