In times of pandemic and collective health crisis, which is considerably disrupting social and economic life around the planet, culture and especially cinema, is a refuge that can help everyone to maintain mental and emotional balance, as well as relieve us of the uncertainty of critical moments, whose repercussions are still unknown. In this sense, reading a good book, listening to an exciting piece of music or enjoying watching an interesting film can become infallible remedies to curb despondency and better cope with any emotional storm. Each person has a predilection for one type of art or another, although one can always enjoy its different aspects, such as a novel, a musical composition, a painting or, as in the case of the present, the cinema. This carpentry of dreams that has marked the evolution of man since the times of silent films, and that has evolved leaving along the way authentic treasures.
Within the great variety of film genres, it seems to us that these are times to embrace comedy again, a genre that, generally and unjustly, has been less valued by specialized critics in comparison with the more dramatic genres, but which has before it a most difficult challenge: to make us laugh. In the vast film ocean there is already room for almost everything imaginable, but it's always a good time to review titles that have aged formidably, passing with flying colours the harsh test of time. In this case, we cannot ignore Ernst Lubitsch and his film "To Be or Not to Be", a true marvel endowed with intense depths in the face of the intolerance of Nazi Germany. The great masters of comedy What to say about Terry Jones' "The Life of Brian", a film that, although viewers see it over and over again, once again provokes them to loud laughter.
Hilarious and as subversive and irreverent as a laugh in the middle of a duel for the dead. Although it once provoked the wrath of some sectors of the Catholic Church, "The Life of Brian" represents, in any case, the iconoclastic spirit of a memorable group of British comics revered by admirers from all corners of the world. Of course, any Monty Python footage is good for lifting the spirits, and a review of comedy in the cinema is not formal, paradoxically, without the name of shrewd filmmaker Billy Wilder, a great exponent of screwball, although his forays into film noir also border on excellence. A good example is "Perdition," another of his great masterpieces.
Among his comedies, "Con faldas y a lo loco" stands out for its popularity (and quality), but "Sabrina," "El Apartamento," "Irma la dulce," "Uno, dos tres" or "Primera Plana" are not far behind. Great all of them from start to finish, and the perfect antidote to forget any problems.