Funny and likable comedy with good interpreters as Juanjo Menéndez, Amparo Soler Leal, José Luis López Vázquez, José Bódalo as well as notorious secondaries and decent direction by Antonio Isasi-Isasmendi. At the beginning a pair of thieves deceive two firemen (José Isbert , Manolo Morán) and take their fire-trucker to carry out a raid at a mansion. The married couple formed by Carlos Poveda (Juanjo Menéndez) and Julia (Amparo Soler Leal) are going to spend Christmas Eve at a hotel in El Escorial with their friend Lorenzo (José Luis López Vázquez), whose fianceé Luisita (Gracita Morales) is ill in his house. The car breaks down and they have to stay at home , while a gang of thieves attempt to steal their jewelry in their absence . One night , the accomplice homemaid (Laly Soldevila) opens the door to her boyfriend (José Bodalo) who , together with a colleague (Lluís Torner) , intend to rob the house .
Entertaining comedy set on a house where bemusing images and hilarious set pieces are happened . Criminal comedy though very stagy , as it makes some claustrophobic , including a Christmas atmosphere that adapts faithfully a play by Alfonso Paso . The funniest scenes result to the confusion and mayhem that cause between protagonists and two crooks when they are stealing at home . The film is bemusing , dynamic , packing an amusing and fun screenplay , scripted by Jorge Feliu ("Tierra De Todos", "El Balcón De La Luna"), José María Font Espina ("The Art Of Getting Married", "The Art Of Not Getting Married") and Antonio Isasi-Isasmendi ("Sentencia Para A Woman "," The Lie Has Red Hair ") based on a successful play by Alfonso Paso . The cast gives funny and attractive interpretations , contrasting of personalities , logic versus implausible fantasy . The main and support cast are wide and great , there is real chemistry between its starring , displaying nice performances such as Amparo Soler Leal as the happily married woman is distinguished by her ability to lie constantly , her hubby Juanjo Menendez who reproaches her that she is unoccupied , and that is where her liking for lies comes from , José Bódalo , José Luis López Vázquez , among others . And a top-notch familiar secondary cast with brief acting from Laly Soldevila , Gracita Morales , Guadalupe Muñoz Sampedro , Gustavo Re, Antonio Riquelme, Xan das Bolas, José Isbert , Manolo Morán, Manuel Alexandre , Milagros Leal .The indoors entanglement makes use of slapstick , mayhem , concealments, comings and goings , and delivering good use of its limited setting to create disconcerting situations , and at the end joining at home a lot of people : a children's Christmas choir run by nun Alicia Hermida , two grieving priests : Xan Das Bolas , Antonio Riquelme and the fire department with Pepe Isbert and Manolo Morán among its members.
The picture contains an evocative photography in black and white by Francisco Marín as well as an atmospheric musical score by Juán Durán. Being shot in Mirasierra , Madrid, with appropriate , though cheap production design . This is a good-natured romp with adequate cinematography mostly shot in studios , who gives us an accurate ambiance of the times is developed . The director Antonio Isasi was defending his name and career , but also his money in more ways than one , as he was one of the producers investing in the project . Antonio Isasi Isasmendi was a good professional , a craftsman who directed several films in diverse genres , as adventures and action , especially , such as : ¨The mask of Scaramouche¨1963 ,¨Las Vegas , 500 millions¨1968 ,¨The dog¨ 1979 , Summertime Killer , That Man in Istanbul , among others . This ¨Vamos a contar mentiras¨results to be a surprisingly solid little film , including some scenes very skillfully staged. This is a movie that's both entertaining and enlightening . Certainly worth watching if you're in the mood for the typical Spanish fare . Rating 6.5/10 , it turns to be a good and attractive film , in my opinion this is one of the best comedy films to come out of Antonio Isasi in the decade of the 50s and 60s .
