西班牙導演Luis Garcia Berlanga的1963部電影El Verdugo，翻譯為“劊子手”，是一個黑色喜劇，不探討命運和死亡的主題。壓抑和敵對的右翼軍事獨裁政權，統治西班牙從20世紀30年代中期，直到1975年Franco將軍的死亡，提供了背景的電影。“在Franco政權挪用作為它的逆行值車流行的電影，導演如Berlanga利用同樣的汽車，而不同的目的。”（約旦，巴里和Rikki摩根tomosunas，64）。Berlanga，與其他開創性的電影人如讓·馬克·費雷里和Fernan Gomez，現在被認為是導演的顛覆性批判佛朗哥西班牙海關，規則和制度，明確描繪的過渡發生在西班牙社會在政權的最后幾年，作為審查和宣傳政策的限制，制定了從20世紀40年代，開始寬松的把握。
El Verdugo講述兩人的生活交織在一起的，一個更好的未來的希望和夢想的故事。阿馬德奧（Jose Isbert）是作為一個上了年紀的老人，即將退休，他擔心他心愛的女兒卡門的未來（Emma Penella），他還沒有成功地找到一個合作伙伴，因為他們都是她父親的貿易排斥。他是一個劊子手。它不僅是與這部電影的主角的到來，承辦人Jose Luis（Nino Manfredi），他一直無法找到一個妻子由于他的病態的行業一個年輕英俊的男子；阿馬德奧的希望似乎都會實現。卡門和Jose Luis有著相似的困境，顯然是注定要在一起的，可笑的。“我們有相同的疾病”他開玩笑。
Spanish filmmaker Luis Garcia Berlanga’s 1963 film El verdugo, translating as ‘The Executioner’, is a black comedy which irreverently explores the themes of destiny and death. The repressive and hostile right-wing military dictatorship, which governed Spain from the mid-1930s until General Franco’s death in 1975, provides the backdrop to the film. “Where the Franco regime appropriated popular film as a vehicle for its retrograde values, directors such as Berlanga exploited same vehicle for rather different ends.” (Jordan, Barry & Rikki Morgan-Tomosunas, 64). Berlanga, alongside other groundbreaking filmmakers such as Ferreri and Fernan Gomez, is now recognised as filmmaker whose subversive critique of customs, rules and the institution of Franco Spain, clearly portray the transition taking place in Spanish society in the last years of the regime, as the restrictions that censorship and propagandist policy, instituted from the 1940s, began to loose their hold.
El verdugo tells the story of two men whose lives are intertwined by hopes and dreams of a better future. Amadeo (Jose Isbert) is presented as an aging man, nearing retirement, who fears the future of his beloved daughter Carmen (Emma Penella), who has not yet succeeded in finding a partner as they have all been repelled by her father’s trade. He is an executioner. It is only with the arrival of the film’s protagonist, undertaker Jose Luis (Nino Manfredi), a young and handsome man who has been unable to succeed in finding a wife due to his morbid profession; that Amadeo’s hopes are seemingly to be realized. Carmen and Jose Luis share a similar predicament, and are clearly and comically destined to be together. “We have the same disease” he jokes.