Critica padre no hay mas que uno
The arrival of the mother-in-law
It was still a somewhat innocuous proposal designed for those who simply wanted to let themselves go, and they were not few precisely. In ‘Padre no hay más que uno 2: La llegada de la suegra’ recovers everything that worked in the first installment, being precisely his character the one who shows major changes by having a greater control of what the situation requires when his wife announces that she is pregnant again and that he will be forced to keep the peace at home if he does not want her to resort to a drastic solution.
After a sympathetic start in which the protagonist acts as a bit of a guide for a father who is very reminiscent of how he was in the first installment, ‘Padre no hay más que uno 2: La llegada de la suegra’ focuses on seeing how the protagonist reacts to the different conflicts that his children have. Personally the one I enjoyed the most was how his son’s uselessness becomes a recurring gag throughout the film. I didn’t care much for the others, but they fit within the kind and somewhat old-fashioned humor already exhibited in the first installment.
Padre no hay más que uno 2 complete
The new installment of ‘Padre no hay más que uno’ begins by introducing us to the character of Javier (Santiago Segura) as we left him in the previous installment. His application ‘Conchy’ has helped him to gain the trust of the parents of the school of their children and to direct the longed-for and Machiavellian chat of parents. It seems that this time, he has everything under control, however, the arrival of a new baby to the family and the mother-in-law, will completely disrupt Javier’s controlled life.
Santiago Segura perfectly achieves the continuation of the humorous atmosphere of the first installment, this time, perhaps with a little more rhythm, which makes the film more enjoyable and entertaining. The atmosphere of the film makes everyday life a caricature that provokes more than once the laughter of the viewer, especially that of the parents. The script, written by Segura himself together with Marta Gonzáles de la Vega, is a critique taken to the extreme of the disparate situations that can cause chaos in a large family.
I doubt very much that Santiago Segura is trying to make a sidereal saga with planetary pretensions, but what he has achieved is much more difficult. To make a comedy that is simple, agile, attractive for all ages, contemporary and, at the same time, anchored in a universal tradition such as the family, is something that, sadly, is not usual on our screens.
Segura succeeds, and for the second time. He engages the viewer as an accomplice of his past misfortunes and embarks him on a new disaster, avoiding the elements that may seem a mere repetition of the previous film.
In short, a simple and fun film in which everything fits together and in which, despite its lightness, it is clear what matters most to everyone. And doing this, as in life itself, is not as easy as it seems.
Javier thinks he has it all under control. Having made it through the week alone with his five children and Conchi, the virtual assistant he invented, being a success, he has become a perfect father.
This feminine vindication returns now with Padre no hay más que uno (2019), which curiously is a remake of another Argentine film, in which the need to share household chores and children’s education is foregrounded, highlighting the inoperability of the male characters to make the leap from mere collaboration to true co-responsibility.
To accentuate the comedy of the plot, he draws a family of five children, with ages ranging from infancy to adolescence, which serve to deploy the range of situations that parents must face. In this way we can see the problems involved in reconciling work and parenting, translated into countless contexts: the distribution of tasks at home, extracurricular activities, homework, leisure management (meeting with friends, hobbies), relationships with the school community and with other parents or the difficulties of adolescence.
However, beneath this general idea that presides over the global discourse, there is a general idea of what is at stake.