Belle Epoque (film)
Belle Epoque is a 1992 Spanish comedy-drama film directed by Fernando Trueba. The title does not derive from the period in French history known as the Belle Époque but from the days before the Spanish Civil War. Belle Epoque received the Goya Award for Best Film along with eight other Goya Awards and was named Best Foreign Language Film at the 66th Academy Awards; the year is 1931. Spain is politically divided between Republicans and Traditionalists and on the verge of the Spanish Second Republic. Fernando, a young soldier, deserts, he befriends an old man with a large house in the country. Fernando is enchanted by Manolo's four daughters; as he meets each of the first three one by one, he falls in love and has sex with each of them, determining to marry but with each one a complication arises: Clara, a widow who only lost her husband and who seeks solace with Fernando. Heartbroken each time, the father of the girls encourages him to have patience; each of the daughters represents a different aspect of feminine sexuality.
The youngest of the family, represents naïveté. While Fernando is pursuing her sisters, Luz gets progressively angry and jealous but Fernando realizes that she is the best one of the four to marry. Jorge Sanz as Fernando Fernando Fernán Gómez as Manolo Miriam Díaz Aroca as Clara Ariadna Gil as Violeta Maribel Verdú as Rocío Penélope Cruz as Luz Gabino Diego as Juanito Michel Galabru as Danglard Agustín González as Don Luis Chus Lampreave as Doña Asun Mary Carmen Ramírez as Amalia Juan José Otegui as Guard Jesús Bonilla as Guard María Galiana as La Polonia Joan Potau as Paco Belle Epoque received positive reviews getting a 93% on rottentomatoes.com. The film is mentioned in the 2010 American film The Fighter. 1993 Goya Awards Best Film Best Director – Fernando Trueba Best Lead Actress – Ariadna Gil Best Supporting Actor – Fernando Fernán Gómez Best Supporting Actress – Chus Lampreave Best Original Screenplay – Rafael Azcona, José Luis García Sánchez, Fernando Trueba Best Cinematography – José Luis Alcaine Best Production Design – Juan Botella Best Editing – Carmen Frías 1993 Academy Award for Best Foreign Language Film 43rd Berlin International Film Festival Golden Bear List of submissions to the 66th Academy Awards for Best Foreign Language Film List of Spanish submissions for the Academy Award for Best Foreign Language Film Belle Epoque on IMDb Belle Epoque at Box Office Mojo Belle Epoque at Rotten Tomatoes
7th Goya Awards
The 7th Goya Awards were presented in Madrid, Spain on 13 March 1993. Belle Époque won the award for Best Film. Imanol Arias
Jamón Jamón is a 1992 Spanish comedy/drama film directed by Bigas Luna and starring Javier Bardem, Jordi Mollá and Penélope Cruz in her debut film. It centers on a young woman named Silvia played by Cruz; the film is an allegory for Spain itself and the director engages in word play and pun. It rhapsodises on the juxtaposition of old and new in Spain and many other emotional contrasts such as erotic desire and food. In a lone building on a busy road going through an arid desert in Spain, the beautiful Silvia spends her evenings making potato omelettes to sell at the factory where she works sewing men's underwear, her mother Carmen works as a prostitute in a roadside brothel nearby. José Luis, pampered son of the factory owners, has been seeing Silvia on the side and when she tells him she has missed two periods, he picks up a soda can tab from the ground to serve as an engagement ring and promises he will stand by her, he cannot promise marriage until he can convince his wealthy parents that she will be a suitable bride.
Appalled, his mother Conchita refuses his father Manuel refuses to intervene. Conchita decides to get rid of Silvia, who she considers worthless, by having somebody seduce her, she picks Raúl, a swaggering aspiring bullfighter who models part-time, but after being repulsed a few times Raúl becomes genuinely smitten by Silvia and he starts to enjoy her attention. Alarmed at the failure of her ploy, now desiring the virile Raúl for herself, Conchita gives him a motorcycle so that he will be her lover instead. Enraged by all this, José Luis nearly rapes Silvia because he seeks revenge on Raúl, she lets him have his way with her. Desperate to keep Raúl, Conchita has sex with him at the isolated ham warehouse that she supervises when a furious José Luis arrives; the two young men engage in a duel with legs of ham as weapons, at the end of which José Luis is killed and Raúl badly wounded. As Conchita is weeping over her injured lover, her husband Manuel arrives with Silvia and the two comfort each other, he having lost his son and she her fiancé.
Silvia's mother Carmen turns up to embrace the corpse of José Luis, her lost son-in-law and client. In a timeless moment, across the desert a shepherd herds a flock of sheep. Penélope Cruz as Silvia Javier Bardem as Raúl Gonzales Jordi Mollà as José Luis Stefania Sandrelli as Conchita, José Luis' mother Anna Galiena as Carmen, Silvia's mother Juan Diego as Manuel, José Luis' father Tomás Penco as Jose Gabrieles, Raúl's friend The film was shot on the Monegros desert near Zaragoza. In Spanish, jamón means "ham." In one scene José comments. Bigas Luna won the Silver Lion at the 1992 Venice Film Festival. "Házmelo otra vez" Jamón, jamón on IMDb Jamón Jamón at Rotten Tomatoes
Fernando Fernán Gómez
Fernando Fernández Gómez better known as Fernando Fernán-Gómez was a Spanish actor, film director, theater director and member of the Royal Spanish Academy for seven years. He was born in Argentina while his mother, Spanish actress Carola Fernán-Gómez, was making a tour in Latin America, he would use her surname for his stage name when he moved to Spain in 1924. After the Spanish Civil War he interrupted his studies to work in theater. In 1942 he began to act in movies but continued working on plays, he received awards for directing and writing. In the 1950s he began to direct movies, including the film of his novel, El viaje a ninguna parte, he received praise for his 1958 comedy La vida por delante, which led to a sequel, La vida alrededor. In 1977, he won the Silver Bear for Best Actor at the 27th Berlin International Film Festival for his role in The Anchorite, he won the award again at the 35th Berlin International Film Festival in 1985 for his role in Stico. and the Honorary Golden Bear at the 55th Berlin International Film Festival in 2005.
Having been much in demand during the 1970s and 1980s, the 1990s was a less active period for him, but towards the end of his life, he enjoyed something of a revival, featuring in three major projects: "Todo sobre mi madre", "Plenilunio", a starring role in the hit "La lengua de las mariposas". He married María Dolores Pradera in 1945, he married Emma Cohen in 2000. Fernando Fernán Gómez died in Madrid on 21 November 2007 from a heart failure; as he was a lifelong anarchist, his coffin was covered in a red anarchist flag. El Vendedor de Naranjas Madrid, Tebas, 1961. Madrid, Espasa-Calpe, 1986. El Viaje a Ninguna Parte Madrid, Debate, 1985. El Mal Amor Barcelona, Planeta. Historic novel. El Mar y El Tiempo Barcelona, Planeta, 1988. El Ascensor de Los Borrachos Madrid, Espasa-Calpe, 1993. La Cruz y el Lirio Dorado Madrid, Espasa-Calpe, 1998. Manicomio El mensaje El malvado Carabel La vida por delante La vida alrededor Sólo para hombres La venganza de Don Mendo Y el mundo sigue Los palomos El extraño viaje Ninette y un señor de Murcia |Ninette y un señor de Murcia Mayores con reparos Crimen imperfecto Cómo casarse en 7 días Yo la vi primero La querida Bruja, más que bruja Mi hija Hildegart Cinco tenedores Mambrú se fue a la guerra El viaje a ninguna parte El mar y el tiempo Fuera de juego Siete mil días juntos Pesadilla para un rico A Porta do Sol Lázaro de Tormes Las bicicletas son para el verano Café Gijón Fernando Fernán Gómez on IMDb Fernán Gómez: Writer, Movie-Maker, Anarchist
Year of Enlightment
Year of Enlightment is a 1986 Spanish film directed by Fernando Trueba, starring Jorge Sanz and Maribel Verdú. The film is a coming of age story of a sixteen-year-old boy finding love and sex in the aftermath of the Spanish Civil War; the film was awarded the Silver Bear at the 37th Berlin International Film Festival. In the spring of 1940 in the aftermath of the Spanish Civil war, two sons of a fallen soldier, Manolo, a sixteen-year-old boy, his eight-year-old little brother Jesús are suffering from symptoms of tuberculosis, their much older brother, takes them to a rural sanatorium in Sierra de Gata near the border with Portugal. They stay there to recover their health under the watch of the director. Manolo is the only adolescent, all the others are children. Starting his sexual awakening, he is smitten with Vicenta, the attractive woman in charge of the care of the children; every night when she undresses Manolo spies her. However, Manolo’s flirtations and sexual advances do not find response in either Vicenta or Paquita, a young girl who works at the sanatorium.
Instead is the sexually repressed head nurse Irene, infatuated with the young boy. Forced to assist to classes against his will with the much younger children in the residence, Manolo clashes violently with the conservative authoritarianism of Doña Tránsito, the teacher. After a confrontation with her, Manolo is left to study on his own. Emilio an old free thinker and janitor of the sanatorium guides Manolo in his readings and teaches him about Montaigne and Flaubert. Disappointed with the sudden departure of Vicenta, who has to leave her job, Manolo is soon infatuated with Vicenta’s successor, María Jesús, a young pretty girl from the village and only one year his junior. Manolo’s friend, encourages him in the awakening of his romance with María Jesús; the two teenagers are promptly discovering together their first love and sexual awakening. Irene discovers them, she fires Maria Jesus and sends her with her uncle the local priest, abruptly stopping their romance. Pepe, an Army officer, comes back to take Manolo with the rest of their family and the young lovers are separated forever.
The two teenage leads Jorge Sanz and Maribel Verdú were subsequently cast together in many Spanish films through the 1980s and 1990s most notably in Amantes directed by Vicente Aranda. Jorge Sanz - Manolo Maribel Verdú - María Jesús Verónica Forqué - Irene Manuel Alexandre - Emilio Rafaela Aparicio - Rafaela Santiago Ramos - Pepe Chus Lampreave - Doña Tránsito Lucas Martín - Jesús José Sazatornil - Don Teodulo Violeta Cela - Vicenta Diana Peñalver - Paquita El Año de las Luces, a sensitive rites of passage film was co-authored by Rafael Azcona and the director Fernando Trueba, who worked together on the Oscar-winning Belle Epoque a film similar in tone and period. El Año de las Luces, is based on an episode of the real life of Manule Huete the director’s father in law. A large scale production it was shot with panoramic lenses, in gorgeous color in Ponte de Lima, Quintanar de Sanabria, Zamora and in Madrid, it premiered on December 5, 1986 and was awarded with a Silver Bear for an outstanding single achievement at the 37th Berlin International Film Festival.
El Año de las Luces is available in Region 2 DVD in Spanish with no English subtitles. Schwartz, The Great Spanish Films: 1950 - 1990, Scarecrow Press, London, 1991, ISBN 0-8108-2488-4 El Año de las Luces on IMDb
¡Ay Carmela! is a 1990 Spanish comedy-drama film directed by Carlos Saura and based on the eponymous play by José Sanchís Sinisterra. The film stars Carmen Maura, Andrés Pajares, Gabino Diego as a trio of travelling players performing for the Republic, who inadvertently find themselves on the nationalist side during the closing months of the Spanish Civil War; the film was selected as the Spanish entry for the Best Foreign Language Film at the 63rd Academy Awards, but was not accepted as a nominee. Carmela and Gustavete -, mute as the result of an explosion - are a trio of travelling vaudeville performers. Amidst the chaos of the Spanish Civil War, they are in the town of Montejo, entertaining republican troops with their variety show, they are survivors who are motivated, not by patriotism, but by a desire for self-preservation. Their show consists of four acts, it begins with Carmela dancing a traditional song. The audience is enthusiastic during her performance, but the mood changes when the sound of approaching nationalist planes is heard.
As the planes fly overhead, Paulino reads a poem by Antonio Machado which introduces a note of patriotic fervour in accordance with republican feeling in 1938. The seriousness of the moment is followed by a comic routine in which Paulino twists himself into a variety of ridiculous postures in an attempt to break wind; the fourth and final act is a'tableau vivant' in which Carmela represents justice while Paulino brandishes the republican flag and they sing a song of freedom. The dangers and deprivation that they encounter in the republican side encourage the trio to go to Valencia. To obtain gasoline for the trip Carmela has to distract a republican truck driver while Paulino and Gustavete steal the fuel, they make this difficult journey on a misty night and inadvertently end up in nationalist territory. They are detained by a nationalist officer and are incriminated by the republican flag they carry amongst their props, they are arrested and taken as prisoners to the local school, which serves as a prison camp where the republicans are held.
Carmela befriends a fellow prisoner: a Polish soldier member of the International Brigade and is surprised that he has come to fight in Spain, a foreign land whose name he cannot pronounce. In an atmosphere of mounting tension and terror, some of the prisoners are taken away to be shot. Carmela and Gustavete are driven away in an army car, they are convinced that they are going to be killed, but instead they are taken to the local theatre where they meet an Italian officer, Lieutenant Amelio di Ripamonte. The lieutenant, learning that they are performers, wants them to take part in a show he has been planning to entertain the nationalist troops, they must stage a burlesque of the Republic in exchange for their freedom. For the variety show that they are to perform to the nationalists, Paulino rewrites their old script. From the outset, the fiery and patriotic Carmela is defiant and unwilling to go along with it, displaying her true convictions as an anti-fascist. However, Paulino persuades her that since their lives are at stake she must collaborate in the performance of the now anti-republican numbers.
On the day of the show, both artists are indisposed as Carmela has her period and Paulino has an upset stomach from eating a rabbit which Gustavete, writing on his slate, now confirms to have been a cat. The presence of the Polish prisoners, who have been brought to witness a mockery of their ideals upsets Carmela, she refuses to perform a number involving the republican flag. Structurally, the show is similar to the one they used to perform for the republican troops. Musical numbers are followed by a poem, now read by the lieutenant; the third act involves a comic sketch, "The Republic goes to the Doctor". In this simplistic parody, Paulino plays a gay republican doctor, visited by a female patient, the Spanish Republic, played by Carmela, she claims. In a number which gives full scope to all the possible sexual innuendos the audience cares to imagine, Carmela invites the doctor to insert his thermometer in her, to which he refuses, making the excuse that it is broken. Carmela irritated by the mockery of the Republic and enervated by the presence of the Polish soldiers loses heart in her performance, her frustration at the mockery of the ideals she holds dear seethes to the surface jeopardizing the credibility of the parody.
The sketch disintegrates as the Polish soldiers begin to rebel in the galleries and the fascists become infuriated. The scene comes to a climax as Carmela starts singing'Ay Carmela' and lowers the republican flag to expose her breasts in defiance of the earlier cries of'Whore!' from the audience. A nationalist officer emerges from the stalls, raises a pistol and shoots Carmela in the forehead. Gustavete recovers his voice, calling out in anguish, but Carmela falls to the floor dead; the next scene shows Paulino and Gustavete visiting Carmela's rudimentary grave which they decorate with flowers and the latter's chalk board, now redundant since Gustavete regained his voice when Carmela was shot. The only words here are spoken by Gustavete -- "Paulino" -- as he leads him away; the two men take to the road again and the song "¡Ay Carmela!" Rises in the background closing the film as it had begun and taking it into the credits. Carmen Maura as Carmela Andrés Pajares as Paulino Gabino Diego as Gustavete Mauricio De Razza as Lieutenant Ripamonte José Sancho as Captain Made in 1990, ¡Ay Carmela! was director Carlos Saura’s twenty-third, feature-length film and, in his own words, the first in which he was able to treat the subject of the Civi
José Antonio Domínguez Bandera, known professionally as Antonio Banderas, is a Spanish actor and producer. He began his acting career with a series of films by director Pedro Almodóvar and appeared in high-profile Hollywood films in the 1990s, including Assassins, Interview with the Vampire, Desperado, The Mask of Zorro, Take the Lead, The Expendables 3, Spy Kids. Banderas provided the voice of Puss in Boots in the Shrek series and its spin-off film Puss in Boots as well as the bee in the U. S. Nasonex commercials. Banderas was born on 10 August 1960, in the Andalusian city of Málaga, to José Domínguez Prieto, a police officer in the Civil Guard, Ana Bandera Gallego, a school teacher, he has Francisco Javier. As a child, he wanted to become a professional football player until a broken foot sidelined his dreams at the age of fourteen, he showed a strong interest in the performing arts and formed part of the ARA Theatre-School run by Ángeles Rubio-Argüelles y Alessandri and the College of Dramatic Art, both in Málaga.
His work in the theater, his performances on the streets landed him a spot with the Spanish National Theatre. Banderas began working in small shops during Spain's post-dictatorial cultural movement known as the La Movida Madrileña. While performing with the theatre, Banderas caught the attention of Spanish director Pedro Almodóvar, who cast the young actor in his 1982 movie debut Labyrinth of Passion. Five years he went on to appear in the director's Law of Desire, making headlines with his performance as a gay man, which required him to engage in his first male-to-male onscreen kiss. After Banderas appeared in Almodóvar's 1986 Matador, the director cast him in his internationally acclaimed 1988 film, Women on the Verge of a Nervous Breakdown; the recognition Banderas gained for his role increased two years when he starred in Almodóvar's controversial Tie Me Up! Tie Me Down! as a mental patient who kidnaps a porn star and keeps her tied up until she returns his love. It was his breakthrough role in Tie Me Up!
Tie Me Down!, that helped spur him on to Hollywood. Almodóvar is credited for helping launch Banderas's international career, as he became a regular feature in his movies throughout the 1980s. In 1991, Madonna introduced Banderas to Hollywood; the following year, still speaking minimal English, he began acting in U. S. films. Despite having to learn all his lines phonetically, Banderas still managed to turn in a critically praised performance as a struggling musician in his first American drama film, The Mambo Kings. Banderas broke through to mainstream American audiences in the film Philadelphia, as the lover of lawyer Andrew Beckett, who has AIDS; the film's success earned Banderas wide recognition, the following year he was given a role in Neil Jordan's high-profile adaptation of Anne Rice's Interview with the Vampire, sharing the screen with Brad Pitt. He appeared in several major Hollywood releases in 1995, including a starring role in the Robert Rodriguez-directed film Desperado and the antagonist on the action film Assassins, co-starred with Sylvester Stallone.
In 1996, he starred alongside Madonna in Evita, an adaptation of the musical by Andrew Lloyd Webber and Tim Rice in which he played the narrator, Che, a role played by David Essex in the original 1978 West End production. He made success with his role as the legendary masked swordsman Zorro in the 1998 film The Mask of Zorro. In 1999 he starred in The 13th Warrior, a movie about a Muslim caught up in a war between the Northman and human eating beasts. In 2001, he collaborated with Robert Rodriguez, he starred in Michael Cristofer's Original Sin alongside Angelina Jolie the same year. In 2002, he starred in Brian De Palma's Femme Fatale opposite Rebecca Romijn and in Julie Taymor's Frida with Salma Hayek. In 2003, he starred in the last installment of the trilogy Once Upon a Time in Mexico. Banderas' debut as a director was the poorly received Crazy in Alabama, starring his wife Melanie Griffith. In 2003, he returned to the musical genre, appearing to great acclaim in the Broadway revival of Maury Yeston's musical Nine, based on the film 8½, playing the prime role originated by Raúl Juliá.
Banderas won both the Outer Critics Circle and Drama Desk awards, was nominated for the Tony Award for best actor in a musical. His performance is preserved on the Broadway cast recording released by PS Classics; that year, he received the Rita Moreno HOLA Award for Excellence from the Hispanic Organization of Latin Actors. Banderas' voice role as Puss in Boots in Shrek 2, Shrek the Third, the last film in the Shrek franchise, Shrek Forever After, helped make the character popular on the family film circuit. In 2005, he reprised his role as Zorro in The Legend of Zorro, though this was not as successful as The Mask of Zorro. In 2006, he starred in Take the Lead, a high-set movie in which he played a ballroom dancing teacher; that year, he directed his second film El camino de los ingleses, based on the novel by Antonio Soler and received the L. A. Latino International Film Festival's "Gabi" Lifetime Achievement Award on 14 October, he received a star on the Hollywood Walk of Fame on 6801 Hollywood Blvd. in 2005.
In 2011, the horror thriller The Skin I Live In marked the return of Banderas to Pedro Almodóvar, the Spanish director who launched his international career. The two had not worked together since 1990. In The Skin I Live In he breaks out of the "Latin Lover" mold from his Hollywood work and stars as a c