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'Luis Garcia Berlanga IN THE SCHOOL OF COMMUNICATION', Cuadernos EIHCEROA, No. 6

Courtesy of Rafael Utrera Macías, professor at the University of Seville and one of the founding members of ASEC, we incorporated into this collective tribute we are paying him to master Luis García Berlanga our Blog link to Issue 6 of EIHCEROA Notebooks (Research Team History of English Cinema and its Relationship with Other Arts).

Called "Luis Garcia Berlanga in the Faculty of Communication this Notebooks number of EIHCEROA , published in 2005, includes a comprehensive report on Berlanga, with an interview about his film study and analysis of Welcome Mr. Marshall (1953), authored by the said Rafael Utrera, Luis Navarrete and Francisco Perales, ASEC partners.

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THE SMILE OF DON LUIS

"Luis has never failed us." He says in his memoirs film, Nieves Arrazola, widow of the great producer-including Viridiana-Ricardo Muñoz Suay. "It came to house and ask, What are you doing here?. Come by if something happens .... ". Now that he showered praise on film, it is worth remembering the personality of the gentleman Luis Garcia Berlanga, neither in difficult times forget the needs of friends or lost his smile. No soul froze when he came to Russia as a member of the Blue Division to redeem his family in the war. Do not even cleared the humor in the Franco regime, separating with hyphens master to censorship. Berta Muñoz Suay her goddaughter took the stage with her sister Anne at the close of European Cinema Festival of Seville to say he had taught to overcome the problems of life using humor. It was a gift for her and all the English that Mr. Marshall first and the Marquis de Leguineche then let us look at the most depths of our national abyss without losing hope thanks to smile. It is, as its title, the National Heritage , because neither the English cinema and the history of Spain (and, in capital letters) would be equally interesting if his shrewdness and delicacy had not been at your service. When his movies are again sporadically in television episodes look as true nationals. The smell of mothballs has not taken possession of them, perhaps because all remains the same. Recent political love for Bush or Obama take us back to "Americans, I welcome you with joy" and his junior title, with a jail All seemed an improvement over the corrupt love of money that poisons our politics. We need a revival of his complete works on the nights of our television, which has lost its way, and Don Luis may help to resume its journey without getting lost in Timbuktu.

Javier Martin-Dominguez

Director of the European Film Festival Sevilla ( SEFF )

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DISENCHANTMENT CRITICAL BERLANGA

evolution given followed by English cinema, from the point of departure for the 'Conversations of Salamanca' (1955), was in critical focus Berlanga (Valencia 1921, Madrid 2010) in his last years. To the extent that the filmmaker, who we remember and honor them after their death, was deeply critical of the English film set for not having known structures of their industry. His critical view, even against their own past, surprised many people in Almeria, this March 2, 2000, in 'Encounters with Film Directors' with his film 'Paris-Timbuktu' "Is my best film." Berlanga considered the American cinema as an example to follow and called terrible mistake that English cinema is linking to neorealism. No comments were missing then explained these views critical of the filmmaker was a man tired. Their disillusionment could be understood well. But it was surprising that Berlanga said, for example: "The 'Conversations Salamanca' was a historical mistake. Until then, Spain had a stable industry, we had the best scenery, good actors and scenarios. It is true that we could not say what they wanted by the dictatorship, but we did what we said as God. " Berlanga

Almeria came accompanied by the writer Antonio Gómez Rufo, screenwriter of 'Paris-Timbuktu. " Attended a seminar at the University, to meet with high school students, held a press conference and starred in the screening of 'Paris-Timbuktu' at the Teatro Cervantes, which ended in a dialogue with the public.

Frame The executioner

Luis G. Berlanga (1963)

All critic feel Berlanga, disappointment, something that was tried in the press conference. Among personal statements, questions and answers, in an atmosphere of awe in the presence of historical filmmaker, was the feeling that Berlanga would not go unnoticed and that their ideas were playing bewilderment at the present time. If you deny the 'Conversations of Salamanca,' in which he participated with Basilio Martín Patino, Ricardo Muñoz Suay, Bardem, among others, and was kind of unorthodox, more surprising was when he said that "neo-realism was a self-trapped and Spain were the most asshole when copying to neorealism. So many years I attempting the regeneration of the English industry and hopefully it will not be getting late. " With these words Berlanga put into question his best film, 'Welcome Mr. Marshall,' Place 'and' The Executioner '. Yes, the director acknowledged that these films are linked to neo-realism. As it happened to her partner travel the first film, Bardem ("Death of a Cyclist ',' Main Street ',' Comic '), who wheel" That happy couple' ("there was no money and about were to leave "), these films made with ingenuity to save censorship made during the dictatorship. The cultural question, which remains in the air, is that with the advent of democracy in his creative imagination was in decline overall, but moments of exception, benefiting from the juncture of the transition. Actually 'Paris-Timbuktu' is not his best film. But the filmmaker said in Almería: "I have come cojonuda", which he never said of his earlier films.

His critical attitude also noted against the Film School, from which it came. In his view, the film is learned rolling. Berlanga believed that the best film school is going to 'deserving' from the elementary occupations up to the highest standards. Was blunt when he said: "The English film is a catastrophe."

Frame

Paris-Timbuktu
Luis G. Berlanga (1999)

Berlanga revealed some anecdotes of his career. For example, the attempted mutiny of the actors, with Pepe Isbert to head in the filming of 'Welcome Mr. Marshall "," the actors were right ", or also in the filming of' The heifer ', to reach concluded that " actors are as creators of the film as the director. "

Berlanga had praise for Antonio Segura and Pedro Almodovar, who advised in its infancy. And a special mention for Concha Velasco (in 'Paris-Timbuktu'), "is a miracle."

In those years when a major industrial project promotes film in Valencia, Berlanga is an ardent follower of American cinema , "is a fallacy to say that European cinema is more cultural." The Valencia project looks at Hollywood. In fact the project is designed in Los Angeles (United States). One idea that could have been before in Almería, as revealed Berlanga, "in Almeria has been twenty years saying that they will do and have done nothing final." Berlanga was a son who told him about a film project of industrial facilities in Almeria, "there was some business dealings with Mexicans, but that did not work." Berlanga

discussed the future of English cinema, of what was coming, major risks of free trade, "if we do not react to disappear."

Anyway, fortunately, there's always the possibility of returning to neorealism.

Miguel Angel Blanco

Martin ASEC partner

Text originally published in the newspaper Ideal (Almería), Thursday, November 18, 2010, pag. 23