Who is Mario Casas
Mario Casas Sierra was born on June 12, 1986 in A Coruna and although initially thought to be football or police, soon realized that his was the interpretation. Since very little was present in several commercials, and was in 2004 when it began to appear in all types of television fiction, the first "Obsession" a series of TVE 2005 that barely succeeded and where houses had only a minor role . After this takeoff became part of "personal reasons", a series of Telecinco in which coincided with another official handsome current Spanish cinema, Miguel Angel Silvestre , but his contribution to this was capitulation. Let's say that fame came a year later when he starred in "SMS", series of The Sixth where he worked with Amaia Salamanca. After the failure of hearing "SMS", Casas ended up in "Los Hombres de Paco" which became known to everyone in this country as Aitor, the young cop who falls in love with Sara to the life-giving Michelle Jenner . The series helped him to end up being one of their main demands following the departure of Hugo Silva in " Three Steps Above Heaven ". This film raised in it's opening weekend 2,050,000€ and beame the Spainish movie with the biggest benefit of the year. The second part of this movie has been realized with the name "I want you". Mario seems to be dating with Maria Valverde. He says that he likes smiley girls with a funny humor and always normal.
Three Meters Above The Sky (Tres Metros Sobre El Cielo)
I Want You (Tengo Ganas De Ti)
Hache (Mario Casas) rides bikes, does lots of pull-ups and is emotionally damaged. Babi (Maria Valverde) is a wealthy but disobedient high schooler.
After an initial meeting at a set of traffic lights, they meet again at a party that quickly devolves into a riot after Hache starts a fight, which he does about every 10 minutes. No matter; the die is cast, and Hache is smitten. Babi is more hesitant, but succumbs under his relentless pressure.
Hache's propensity for violence means constant brushes with the law. Slowly, he becomes more tender, Babi more rebellious. At first, modern lass Babi seems to have chosen him only as a means of losing her virginity, but the plot eventually regresses to a standard boy-meets-girl trajectory.
The reasons for Hache's borderline psychopathy, shown in an inane flashback, are psychologically flimsy and have nothing to do with poverty or class. Screenwriter Ramon Salazar (also an accomplished helmer) has excised all references to unpleasant social realities from the pic's earlier sources, so the only clue that Hache is an underdog is the fact that he doesn't have a cell phone.
Casas, terrific recently in Paco Cabezas' "Neon Flesh," has a hunted, rebel look, hard muscles and the energy required for the part. Valverde, who's shown real acting chops elsewhere, has little to do here but react to Hache's excesses and parade about in product-placed underwear. Otherwise, there's something for every kid to identify with or against in a cast that includes Hache's fun-loving, goofy sidekick Pollo (Alvaro Cervantes), Babi's excitable younger sis Dani (Nerea Camacho) and their uptight mother Rafaela (Cristina Plazas). The only real depth and gentleness in the pic comes from Jordi Bosch as Babi's well-meaning father.
Pacing is fast, editing slick. The pic is very glossy indeed, taking staples like a couple on the beach at sundown or a thrilling bike race and stylizing them into total artificiality. This is recognizably contempo Spain, but even the city's outskirts at night look unfailingly beautiful, especially in the rain. Pic does deliver some resonant standalone images, such as Hache striking fruitless blows at his bike.
Project's canniness is shown by the marketing of its Spanish title as the easily textable "3MSC," although the onscreen title is "Tres metros sobre el cielo." Musically unimaginative soundtrack furthers the thought that there should be a ban on other films using Alphaville's "Forever Young."
Hache (Mario Casas) returns to Spain after two years in London, his heart still broken by the death of his best friend, Pollo (Alvaro Cervantes), and by having loved and lost Babi (Maria Valverde), in the first film. The big question for Spanish auds this time is: Will Hache and Babi get back together?
When his beloved motorcycle gets knocked over by Gin (Clara Lago), a wild-child photographer, singer and dancer, Hache is immediately smitten, though he still spends a lot of time loitering near Babi's home, as the script contrives to keep them separate for most of the picture. Hache also sometimes communes with Pollo's ghost, who lectures him about how times change. Subplots include a mean-spirited, moralizing little tale about Babi's little sister, Daniela (Nerea Camacho), getting pregnant.
The script is effectively a melodrama, with typical teen confusions inflated to epic proportions and then backed with epic music (much of it sounding sub-U2) and epic, show-offy visuals: One sex scene takes place in silhouette on a dangerous ledge high above a stunning, digitally enhanced Barcelona skyline.
However, the dialogue's efforts to sound grandiose end up merely hackneyed. "I hate guys like you," Gin tells Hache. "What, irresistible ones?" he replies, a line that only someone like famously weedy Brit thesp Charles Hawtrey could deliver effectively. Such nonsense does little for the chemistry between Hache and Gin, especially as it's hard to see why a smart girl like her would even get off her bike for a lunk like him. But unlike the earlier pic, this one does play a bit with gender expectations, and the independent, no-nonsense and ambitious Gin is the real heart of things, leaving the prim and proper Babi looking rather dull.
Casas brings new depth and a newly melancholy air to the role of a soulful-eyed, suffering stallion. His superb physique, often clad in a Stooges T-shirt, is fully exploited, and interestingly suggests that Hache is always about to explode into violence; sex with him invariably involves being lifted off the ground. Music, when it moves away from a couple of attractive ballads by Lago and the aforementioned U2 ripoffs, is bland orchestral fare. Irene Blecua's editing is superb.