Trip to the B side of the Spanish cinema

Alex Says of the church: "The film is justified by itself", to what Nacho Vigalondo incident: "You can be author and film director of explotation". Session

Trip to the B side of the Spanish cinema

Alex Says of the church: "The film is justified by itself", to what Nacho Vigalondo incident: "You can be author and film director of explotation". Session wild, Paco Limón and Julio César Sánchez, is a documentary that travels through four decades of Spanish cinema B-series, a collection of movies from all types of genres, more or less known today, but very popular at the time: films of horror, science fiction, comedies of Extended and Barns, the wéstern, eurothrillers, the uncovering or the cinema quinqui. Much of that film was made in English with the intent that it be exportable. Of knowing languages and of having the mind open-minded were taken advantage of filmmakers such as Ignacio F. Iquino, Juan Piquer Simon, Eugenio Martin, Jess Franco, Jordi Grau, Paul Naschy, Antonio Isasi-isasmendi ” to mean, Joaquín Romero Marchent, and his brother Rafael or Chicho Ibáñez Serrador and actors like Simón Andreu, which confirms to the camera: "I spoke English, and that helped me to enter in film international, where I learned acting job". But then one of the many fun confessions that appear in the film: "sometimes, in the filming, simply, we had: '1, 2, 3, 4, 5, 6". And then the bend. "But it was a pleasure to work out there."


Dies Antonio Isasi-isasmendi ” to mean, the great filmmaker who was not well seen to admire A movie unpublished work by Jesus Franco for 30 years of Filmoteca Española

On the screen, they move past the survivors of that film and the current creators who enjoyed it. As Eugenio Martin, a prolific director with films like The price of a man (1966) or the huge Panic in the trans-Siberian express (1972), who signed as Gene Martin for that do not know their origin, and in that match Christopher Lee, Peter Cushing, Terry Savalas, Silvia Tortosa and Helga Liné. Martin says, "Imitated the italians". For many years this film was fed from great technicians low wages in a cheap country -Spain - for the Spanish producers, and a censorship that did not allow to show terror or violence... unless it is not developed in Spain. Joaquin Romero Marchent benefits of the aspect crematístico, and as heard in Session savage, performs a few wésterns "to the height of Sergio Leone", as confirmed by Tarantino, who paid homage to him in once Upon a time in... Hollywood.

There is also space for the terror. In 1972, Vicente Aranda wheel The bride bloodied, two years after Jordi Grau premiered Not profanéis the sleep of the dead, great film. Grau says that in reality the only one who took seriously the genre was Jacinto Molina, better known as Paul Naschy. But the two masterpieces of those years came from the talent of a director: Chicho Ibáñez Serrador and his residence (1969) and Who can kill a child? (1976). Account Of the Church that one of its strengths is that those jobs "were not pretenciosidad of the author, and Chicho symbolizes the detachment for the authorship."

Some, such as Jesus or Jess Franco, shot for the pleasure of shooting (in front of the camera, Franco, who died in 2013, says: "I Have done has come out of the eggs"), although that would quite a few films were maddened. Vigalondo explains. "The film seeks to offer what was not television", and by that path go the work of Ivan Zulueta with Rapture, by Bigas Luna and the recently deceased Javier Aguirre. Cinema quinqui recover their two figures: José Antonio de la Loma (something more commercial), and Eloy of the Church (more authentic). Science fiction stands out at the mythical Juan Piquer Simon -"The one that best understood the anglo-saxon world and was not going to cast it, which were above average in planning and action" - with titles like Supersonic Man (1979), Slugs, muerte viscosa (1988) or The crack (1990), of whom the guonista Diego San José points out: "Never bored".

Finally, the analysis passes for comedy by the prolific Mariano Ozores (Fernando Extended termed "The scourge of criticism") and the unveiling. All those cinemas popular were finished off by the Law Miro, who favored a type of auteur cinema. Martin has it clear: "She sank the film industry." Although Extended suggests: "Everything has its time".

Date Of Update: 26 December 2019, 21:00