Pilar Miró shows a great ability in translating into cinematographic terms the linguistic, social and metaphorical elaboration that Lope de Vega realises in his play The Gardener’s Dog opposing high vs low. If the dramatist hardly alludes to specific places where the characters act, Miró adopts a number of effective solutions, both spatial and symbolic, some of them really original (such as the introduction of a dwarf who always accompanies the Countess being her monstrous double). Many sequences reflect perfectly in spatial terms the distance that separates Teodoro and Diana up until Tristán, with his tricks, finds the way they can consider themselves equal at the end of the play.
Lope de Vega. El perro del hortelano. Pilar Miró. Film version. Dialectic high vs low.