Podcast Summary: Hoy por Hoy - Vida y Cine | “'The Smashing Machine' es más simple que el deporte que retrata”

Date: October 2, 2025
Host: Àngels Barceló (SER Podcast)
Main Guest: Javier Ocaña (Film Critic)

Overview

In this episode of Hoy por Hoy's "Vida y Cine", host Àngels Barceló and film critic Javier Ocaña delve into the week’s new film releases with a critical, witty, and contemplative tone. The discussion centers on two major premieres: "Un fantasma en la batalla," a Spanish thriller about an undercover agent in ETA, and "The Smashing Machine," a gritty biopic from the world of mixed martial arts. The episode also features a listener-requested critique of Tim Burton’s "Sweeney Todd." Ocaña analyzes the artistic choices, narrative parallels, and the broader social or cinematic implications of these films.

Key Discussion Points and Insights

1. Opening Thoughts: Criticism, Resilience, and Cinematic Luck

• Tone setting: Begins with a reflection on life’s hardships, echoed in cinema:
  • "El mundo no es todo alegría y color. Es un lugar terrible... Ni tú, ni yo, ni nadie golpean más fuerte que la vida. Pero no importa lo fuerte que golpeas, sino lo fuerte que pueden golpearte. Y lo aguantas mientras avanzas. Así es como se gana." (Guest 1, 00:25)
• Àngels Barceló draws a parallel between life's struggles and the challenges of cinema—and especially of this week’s film releases (01:08).

2. "Un fantasma en la batalla": Twin Films and Historical Thrillers

• Film Context:
  • Directed by Agustín Díaz Llanes, arrives soon after a thematically identical hit, "La infiltrada."
  • The close release windows and similar premises (a woman infiltrating ETA) create unavoidable comparison.
• Bad Luck in Cinema:
  • “Una ha tenido muy mala suerte... y la otra era una de las películas internacionales que más ganas tenía de ver, porque es un director importante y me ha parecido mala directamente.” (Javier Ocaña, 01:36)
• Structural and Tonal Differences:
  • "Un fantasma en la batalla" is described as more somber and politically anchored; relies heavily on real documentary footage (03:43–06:37).
  • "La infiltrada" uses a more entertaining thriller format, but both share themes and narrative beats.
• Political Approach:
  • Both films are clear in their condemnation of ETA, yet briefly touch on the state's own “guerra sucia.”
  • "No hay equilibrio porque no puede haber equilibrio... Unos mataban y otros morían." (Javier Ocaña, 07:49)
• Critical Challenges:
  • The proximity of stories and production makes it difficult for critics (and viewers) to separate one from the other.
  • “No puedes evitar en ningún momento conectarlas. Tienen una estructura muy parecida. Los personajes van casi en paralelo.” (Javier Ocaña, 08:01)
• Audience Impact:
  • Despite the overlap, Ocaña insists both films stand on their own merits and encourages viewers not to miss "Un fantasma en la batalla" (08:51–09:54).
  • References to other “twin releases” in film history—like “Armageddon”/“Deep Impact” and two Capote films (09:40).

3. "The Smashing Machine": Simplicity Beyond Violence

• Film Context:
  • A fictionalized account of Mark Kerr, one of the earliest stars of the UFC in the 1990s.
  • Directed by one of the Safdie Brothers, starring Dwayne Johnson (“The Rock”).
• Ocaña’s Disappointment:
  • “La película es aún más básica y aún más gruesa que el deporte que practica. Así te lo digo.” (Javier Ocaña, 11:26)
• Violence and Structure:
  • The film is extremely graphic, with explicit violence and a focus on Kerr’s addiction to opiates due to his injuries.
  • Follows the classic "rise, fall, redemption" boxer-movie cliché.
• Comparison with Other Sports Films:
  • Ocaña references "El Clan de Hierro" and "Foxcatcher" as complex, superior examples within the sports genre (12:38).
• Character Weaknesses:
  • Secondary characters are described as uninteresting; the protagonist’s wife is called an “arquetipo simplón y cliché” (Javier Ocaña, 13:33).
• Aesthetic Merits:
  • The only redeeming feature is the film’s raw, grainy visual texture.
• Dwayne Johnson’s Performance:
  • Praised as “muy bien,” with potential (arguably exaggerated) Oscar buzz (15:24–16:15).

4. The Safdie Brothers’ Separate Paths

• The directors have split, both making sports-related films:
  • One directs "The Smashing Machine" (MMA/UFC).
  • The other creates "Marty Supreme" about a ping-pong champion with Timothée Chalamet.
• "Han elegido deportes, volvemos a poner entre comillas, los deportes particularmente extraños... Hombre, prefiero el tenis de mesa, si te digo la verdad." (14:44–14:49)

5. Listener Critique: "Sweeney Todd" by Tim Burton

• Listener Request:
  • A caller asks for Ocaña’s view on Tim Burton’s "Sweeney Todd," particularly the Stephen Sondheim soundtrack (16:40).
• Ocaña’s Take:
  • Voices personal disappointment; felt more impressed by the original stage version seen in Madrid.
  • Finds Tim Burton’s visual style too artificial, "casi parece una película de dibujos animados" (17:53).
  • Sondheim’s score is acknowledged as "spectacular" but challenging, atonal, and not “catchy.”
  • "Me la he vuelto a ver y me he vuelto a aburrir. Y no me gusta la imagen y me gusta la banda sonora." (Javier Ocaña, 18:48)
  • Still, he celebrates the listener’s enjoyment.

Memorable Quotes & Moments

• On the challenge of comparing two near-identical films:
  “Es injusto, seguro que es injusto, pero es que no se te va de la cabeza.” (Javier Ocaña, 05:19)

• On the violence of "The Smashing Machine":
  “La película es aún más básica y aún más gruesa que el deporte que practica. Así te lo digo.” (Javier Ocaña, 11:26)

• On Dwayne Johnson:
  “Es un señor que me cae fenomenal porque hace siempre papeles muy simpáticos… Tiene una sonrisa preciosa. Ese señor me encanta. Cae bien…” (Javier Ocaña, 15:27)

• On film redundancy in history:
  “…Pasó con los dos Truman Capote al mismo tiempo. Pasó con Armageddon y Deep Impact, Los Otros tras El sexto sentido. Casualidades de producción.” (Javier Ocaña, 09:40)

• On Sondheim's score in Sweeney Todd:
  “…casi más parecido a una ópera que un musical de Broadway, pero es una banda sonora muy compleja, muy difícil, muy atonal, que no tiene casi melodía, que no tiene canciones pegadizas…” (Javier Ocaña, 18:14)

Timestamps for Key Segments

• 00:01-01:08 – Introduction: Cinema, life, and resilience
• 01:26-09:54 – Discussion on "Un fantasma en la batalla" vs. "La infiltrada"
• 10:04-16:15 – Critique of "The Smashing Machine"
• 14:04-14:57 – Discussion on the Safdie Brothers’ new film directions
• 16:40-18:48 – Listener request: Ocaña critiques "Sweeney Todd"
• 18:54-18:59 – Episode closing remarks

Overall Tone & Conclusion

The episode is characterized by candid, insightful, and somewhat melancholic criticism, particularly regarding the film industry's quirks, the inevitability of comparison, and the cyclical nature of thematic repetition. Ocaña’s honesty is refreshing—even in disappointment, he recognizes artistic intent and encourages the curious cinephile to judge for themselves. The segment ends on a self-aware note about having a tough week in cinema—but always ready to return with new critiques.