游泳池在电影史上扮演了重要的角色——最常被视为成熟和享乐主义的杜尔茜·维塔的乐土。但它可能比日落大道更险恶，甚至更险恶。在Leyenda Dorada，一个毫无魅力的游泳池成为了故事的焦点。在西班牙的蒙恩奇兹村度过了一个懒散的夏日，各个年龄段的人们都在室外游泳池里尽情享受。这几乎是对社会的乌托邦式描绘，在我们这位安慰的女士高傲的、警惕的注视下。虽然冲突、侵略、敌对和敌意都在午睡，但村民们却得到了应得的休息。从形式上讲，这部电影借鉴了新客观性的传统。但不同于罗伯特·西德马克的《曼森·阿姆·桑塔格》（1930）及其《丽都》系列，这是一个小小的夏日童话。 The swimming pool has played an important role throughout film history – most often as a romping ground for the sophisticated and hedonistic Dolce Vita. But it can be so much more, even sinister, as in Sunset Boulevard. In Leyenda dorada a rather unglamorous swimming pool of diminished charm forms the focal point of the story. A lazy summer’s day in the Spanish village of Montánchez, and people of all ages enjoy themselves at the outdoor pool. It is an almost utopian depiction of community, under the lofty, watchful gaze of Our Lady of Consolation. While conflicts, aggression, rivalries and animosities have a siesta, the villagers take a well-deserved break. Formally, the film draws on the tradition of New Objectivity. But unlike Robert Siodmak’s Menschen am Sonntag (1930) and its lido sequence, this is a wee summer fairy tale.