Energy Consumption Of Reptiles Vs Mammals

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