When I was a toddler, so long ago this seems to be in another life, in the class had a nun who warned us against the danger that the cinema, invention of the devil, meant for our innocent children. "You " said Mother Mary Joseph, whom God has forgiven, must not go to the movies, because if you go, I condemn without reference to eternal fire "and immediately told us horror stories of children who burned between flames for all eternity, symbolized by a board cover of "zeros" that represented only one thousandth fraction of eternal time.
funny thing is that some day, this unfortunate, because I can not describe it otherwise, we were surprised by calling (ie, ordering) to the largest class (which had children between 3 and 8 or 9 years) that will tell the movie " Balarrasa " of recent projection in theaters in the city and almost everyone had seen, contrary to the recommendations of the religious cannot.
I got this story from the chest of memories from my childhood because it dates have bought the ridiculous price of 1 € (less than a newspaper or a coffee) in a bookstore who pay remains of these editorial, about "Conversations Fernando Fernan Gomez ", signed by Henry, published by Espasa Brasó in 2002. It's funny what happens to famous people who die: the first all are excited praise and memories of his life, his contribution to science, art or human progress and soon it seems as if a curtain of silence had hovered over them and almost no one except his relatives and friends remember him and his works, owns or trying them, are confined to the corner of the titles impossible or "cursed", using an expression that would have liked the protagonist of this book .
back to " Balarrasa "is not that this film would Cifesa (1951) to have so much success. And hence possibly the interest of religious orders in it, because the rate was consistent with rigid morality that would impose at the time. " But those things were: a daughter who went out at night, another daughter who smoked, a poker-playing father and a brother changing foreign currency " 1 . Still in the eighties of last century, after a pass by TV-I remember this movie in the series on the history of English cinema, Fernando Méndez-Leite remember reading praises church in a provincial newspaper in a famous scene, the "currency" for its deep symbolic and moral. I have
FF-G, person and character for whom I have always felt great sympathy, despite his character of "enfant terrible", "a defense against unwelcome, as he himself acknowledges," some of his books in my library and several films directed or performed by him in my memory. Among the first: " The orange seller" 2 , " The actor and the other " 3 , " The trip to nowhere " 4 and, of course, the two volumes of his "Memoirs" in the 1990 edition 5 .
As for his movies, they have been staking out the different stages of my life, from child to young adult and older and are tied to more or less significant moments of my life path. After the so called " Balarrasa " which would see six or seven years, my next memory is for " That happy couple", which first appeared in English cinema standard rates, the street, " a world in which they appeared correspondence courses, the festivals, the lottery utilities or tables summarizing costs month. " The next film I saw, and the teenage cousin, was the great " life ahead." I admit that I pledge of Analia Gade sculpture, an obsession that has lasted all my life, and, like many other English mine did the symbolic phrase "if , but I'd rather have it [life] around." I saw and liked, as an adult, the movie cursed " The strange journey" and followed the adventures of the Galvan family " The trip to nowhere some of whose most celebrated sequences, the "break" (" long ago ...") I hope you señoritooo and speech of comedians, I have memorized. I was intrigued by the issue of corruption, the film "The Sea and time, with a great scene by Mary Asquith and enjoyed the brilliant interpretation of FF-G" Grandpa " (rather than with the film.) Finally I was stuck in my chair after the vision of " Language butterfly," one of the movies that impacted me in my life. In the middle left me many of the more than two hundred forming the films of FF-G. of which I remember enough, a scene, a type, a sentence.
As book "Conversations with FF-R", despite its length (300 pages) I have read almost in one sitting. Through dialogue with fellow director and friend Enrique Brasó, emerging not only as an overview of the cinematographic work of the respondent but a condensed history of English cinema and society to which this film was going. Reflections on the role of film in comparison with other arts, the relationship between cinema and literature or comments about directors, actors, producers and writers of the time as Jardiel, Neville and Fernández Flórez, everything is seen and judged by FF-G with its sharpness and penetration characteristics (" The entertainment business is due to precise rules or immutable nobody knows").
The FF-G film, it might be, as he himself recognizes, a production "countercurrent " as many of the works of authors that I like. So when a television channel "Fernán Gómez cast of" try not to miss it, even late at night. Above all, if " Balarrasa ." ©
Manuel Martínez
Bargueño February 2011
funny thing is that some day, this unfortunate, because I can not describe it otherwise, we were surprised by calling (ie, ordering) to the largest class (which had children between 3 and 8 or 9 years) that will tell the movie " Balarrasa " of recent projection in theaters in the city and almost everyone had seen, contrary to the recommendations of the religious cannot.
I got this story from the chest of memories from my childhood because it dates have bought the ridiculous price of 1 € (less than a newspaper or a coffee) in a bookstore who pay remains of these editorial, about "Conversations Fernando Fernan Gomez ", signed by Henry, published by Espasa Brasó in 2002. It's funny what happens to famous people who die: the first all are excited praise and memories of his life, his contribution to science, art or human progress and soon it seems as if a curtain of silence had hovered over them and almost no one except his relatives and friends remember him and his works, owns or trying them, are confined to the corner of the titles impossible or "cursed", using an expression that would have liked the protagonist of this book .
back to " Balarrasa "is not that this film would Cifesa (1951) to have so much success. And hence possibly the interest of religious orders in it, because the rate was consistent with rigid morality that would impose at the time. " But those things were: a daughter who went out at night, another daughter who smoked, a poker-playing father and a brother changing foreign currency " 1 . Still in the eighties of last century, after a pass by TV-I remember this movie in the series on the history of English cinema, Fernando Méndez-Leite remember reading praises church in a provincial newspaper in a famous scene, the "currency" for its deep symbolic and moral. I have FF-G, person and character for whom I have always felt great sympathy, despite his character of "enfant terrible", "a defense against unwelcome, as he himself acknowledges," some of his books in my library and several films directed or performed by him in my memory. Among the first: " The orange seller" 2 , " The actor and the other " 3 , " The trip to nowhere " 4 and, of course, the two volumes of his "Memoirs" in the 1990 edition 5 .
As for his movies, they have been staking out the different stages of my life, from child to young adult and older and are tied to more or less significant moments of my life path. After the so called " Balarrasa " which would see six or seven years, my next memory is for " That happy couple", which first appeared in English cinema standard rates, the street, " a world in which they appeared correspondence courses, the festivals, the lottery utilities or tables summarizing costs month. " The next film I saw, and the teenage cousin, was the great " life ahead." I admit that I pledge of Analia Gade sculpture, an obsession that has lasted all my life, and, like many other English mine did the symbolic phrase "if , but I'd rather have it [life] around." I saw and liked, as an adult, the movie cursed " The strange journey" and followed the adventures of the Galvan family " The trip to nowhere some of whose most celebrated sequences, the "break" (" long ago ...") I hope you señoritooo and speech of comedians, I have memorized. I was intrigued by the issue of corruption, the film "The Sea and time, with a great scene by Mary Asquith and enjoyed the brilliant interpretation of FF-G" Grandpa " (rather than with the film.) Finally I was stuck in my chair after the vision of " Language butterfly," one of the movies that impacted me in my life. In the middle left me many of the more than two hundred forming the films of FF-G. of which I remember enough, a scene, a type, a sentence. As book "Conversations with FF-R", despite its length (300 pages) I have read almost in one sitting. Through dialogue with fellow director and friend Enrique Brasó, emerging not only as an overview of the cinematographic work of the respondent but a condensed history of English cinema and society to which this film was going. Reflections on the role of film in comparison with other arts, the relationship between cinema and literature or comments about directors, actors, producers and writers of the time as Jardiel, Neville and Fernández Flórez, everything is seen and judged by FF-G with its sharpness and penetration characteristics (" The entertainment business is due to precise rules or immutable nobody knows").
The FF-G film, it might be, as he himself recognizes, a production "countercurrent " as many of the works of authors that I like. So when a television channel "Fernán Gómez cast of" try not to miss it, even late at night. Above all, if " Balarrasa ." ©
Manuel Martínez
Bargueño February 2011
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NOTES
1. Enrique Brasó. "Conversations Fernando Fernan Gomez." Espasa-Calpe, 2002, p. 62.
2. F. Fernan-Gomez " The orange seller" . Tellers today 1. Ediciones Tebas 1961.
3. Fernando Fernan Gomez " The actor and the other" Laia arts. Barcelona, \u200b\u200b1987.
4. Fernando Fernan-Gomez " The journey to nowhere." World Library 2001.
5. Fernando Fernan Gomez "yellow time. Memorias . Volume I 1921-1943. Volume II 1943-1987. Editorial Debate. Literature Library 1990. I think there is a new and enlarged edition
NOTES
1. Enrique Brasó. "Conversations Fernando Fernan Gomez." Espasa-Calpe, 2002, p. 62.
2. F. Fernan-Gomez " The orange seller" . Tellers today 1. Ediciones Tebas 1961.
3. Fernando Fernan Gomez " The actor and the other" Laia arts. Barcelona, \u200b\u200b1987.
4. Fernando Fernan-Gomez " The journey to nowhere." World Library 2001.
5. Fernando Fernan Gomez "yellow time. Memorias . Volume I 1921-1943. Volume II 1943-1987. Editorial Debate. Literature Library 1990. I think there is a new and enlarged edition
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