User:Kbundy/sandbox
Florián Rey | |
|---|---|
 | |
| Born | Antonio Martínez del Castillo January 25, 1894 |
| Died | April 11, 1962 (aged 68) |
| Occupation(s) | Film director, producer, screenwriter |
| Years active | 1924–1956 [2] |
| Spouse | Imperio Argentina (1934–1939) |
Florián Rey (born Antonio Martínez del Castillo) was a Spanish director, actor, and screenwriter. He directed La aldea maldita (The Cursed Village), widely recognized as a seminal work in silent Spanish cinema, and helped launch the career of famed Argentinian-Spanish actress Imperio Argentina. [1]
Early Career
[edit]While in his teens, Rey began work as a journalist for multiple newspapers in his home province of Zaragoza and nearby Madrid. It was during this time that he assumed the name Florián Rey.[3] He took work as an actor, first in the theater in Madrid and then film. His first film role was in La inaccessible in 1920.[3]
Rey's directorial debut was with the film La revoltosa (The Mischief-Maker) in 1924.[4] As with many of his early films, La revoltosa was an adaptation of a zarzuela, a Spanish musical theater that was highly popular with the middle and lower classes of the late nineteenth century.[5]
In 1926, Rey, with Spanish director Juan de Orduña, created the production company Goya Films. Rey continued directing zarzuela adaptations and other forms of melodramas through the 1920s for Goya Films as well as other production companies.[6]
In 1927, Rey cast Argentinian-Spanish actress Imperio Argentina in La hermana San Sulpicio (Sister San Sulpicio). This marked her debut as an actress in Spain.[7] The two would later collaborate on other films and eventually marry.[8]
La aldea maldita
[edit]Rey directed La aldea maldita (The Cursed Village) in 1929. This would be his most successful film and is regarded by many critics as a masterpiece of silent Spanish cinema.[9]
Rey intended for La aldea maldita to be a silent film, but, after completing production, decided to include sound. This necessitated additional shooting and synchronization in Paris.[10] The decision to move sound production to France stemmed from Rey's dissatisfaction with the quality of the sound in his first talkie, Fútbol, amor, y toros, in 1929.[1] No copy of the sound version of La aldea maldita exists today.[11]
Many film historians believe that Rey was inspired by Russian Expressionist films during the making of La aldea maldita, particularly The Village of Sin by Olga Prebajenskaia, though this specific film's influence on Rey is not universally agreed upon.[12] [13] Rey incorporated such aspects of Russian Expressionism into his film as attention to shadow, camera "walk throughs" (actors walk towards a camera followed by a shot of them moving away, as if they moved through it)[11], and closeups on peasant faces.[13]
Later Work
[edit]After the success of La aldea maldita, Rey was retained as a director for CIFESA, though he traveled and filmed in other countries during the 1930s.[6] While touring Mexico to promote and show Morena Clara, Rey and his wife Imperio Argentina were courted by German officials intending to hire him to direct movies for Hispano-Film Produktion.[1] Upon their visit to Germany, Rey and Argentina were met by both Adolph Hitler and Joseph Goebbels to discuss film projects. Goebbels requested that Rey remake one of his earlier films based on a rewritten script that would be provided to him. Instead, Rey decided on an adaptation of Carmen. The resulting film, Carmen la de Triana, starred Argentina as the titular Carmen.[14]
Rey remained in Germany and made additional films for Hispano-Film Produktion. His last film with Argentina was La cancion de Aixa (Aixa's Song) in 1939. Amidst rumors that Argentina had an affair with Hitler, the couple divorced and Rey returned to Spain.[15] Rey and Argentina's relationship in Germany was the inspiration for the film La nina de tus ojos (The Girl of Your Dreams), directed by Fernando Trueba in 1998.[16]
Upon his return to Spain, Rey continued working for CIFESA studios. He received success with several films, including a remake of La aldea maldita, but was never able to match the success of his films with Argentina.[17]
| Year | Spanish Title | English Title | Notes |
|---|---|---|---|
| 1921 | La verbena de la paloma | The Fair of the Dove[18] | Actor |
| 1924 | La revoltosa | ||
| 1925 | La chavala | ||
| 1925 | Los chicos de la escuela | ||
| 1925 | Gigantes y cabezudos | ||
| 1925 | El Lazarillo de Tormes | ||
| 1926 | El cura de aldea | ||
| 1926 | El pilluelo de Madrid | ||
| 1927 | Aguilas de acero/Los misterios de Tánger | ||
| 1927 | La hermana San Sulpicio | Sister San Sulpicio | The debut of Imperio Argentina[19] |
| 1928 | Agustina de Aragon | ||
| 1928 | Los claveles de la virgen | ||
| 1929 | Futbol, amor, y toros | Soccer, Love, and Bullfighting | Rey's first talkie[20] |
| 1929 | La aldea maldita | The Cursed Village | Originally released in sound, but sound version presumed lost. Silent version survived.[3] |
| 1931 | Los buenos dias | ||
| 1932 | El cliente seductor | ||
| 1933 | Esperame | ||
| 1933 | Melodia de arrabal | Song of the Shantytown[21] | |
| 1934 | La hermana San Sulpicio | Sister San Sulpicio | Remake in sound of an earlier Rey film[6] |
| 1934 | El novio de mamá | Mama's Suitor[22] | |
| 1934 | Romanza rusa | ||
| 1934 | Sierra de Ronda | ||
| 1934 | Soy un senorito | ||
| 1935 | Nobleza baturra | Aragonese Virtue or Rustic Chivalry[8] | |
| 1936 | Morena Clara | Clara, the Brunette[23] or Dark and Bright[8] | |
| 1938 | Carmen, la de Triana | ||
| 1939 | La cancion de Aixa | Aixa's Song | Rey's last film with Argentina[15] |
| 1940 | La Dolores | ||
| 1941 | Polizón a bordo | Stowaway on Board[24] | |
| 1942 | La aldea maldita | The Cursed Village | Remake of an earlier Rey film[17] |
| 1942 | Eramos siete a la mesa | ||
| 1943 | Ana Maria | ||
| 1943 | Idolas | ||
| 1943 | Orosia | ||
| 1945 | La luna vale un millon | ||
| 1946 | Audiencia publica | ||
| 1947 | La nao capitana | ||
| 1948 | Brindis a Manolete | ||
| 1948 | La cigarra | ||
| 1950 | Cuentos de La Alhambra | ||
| 1953 | La mordaza del cantaro | ||
| 1954 | La cruz de mayo | ||
| 1954 | La danza de los deseos | ||
| 1954 | Maleficio/Tres citas con el destino | Witchcraft/Three Dates with Destiny | |
| 1956 | Polvorilla |
References
[edit]- ^ a b c d Mira Nouselles, Alberto (2010). Historical Dictionary of Spanish Cinema. Plymouth, UK: Rowman & Littlefield. p. 261. ISBN 0810859572.
- ^ D'Lugo, Marvin (1997). Guide to the Cinema of Spain. Westport, CT: Greenwood Press. p. 194. ISBN 0313294747.
- ^ a b c Pavlovic, Tatjana; Alvarez, Inmaculada; Blanco-Cano, Rosana; Grisales, Anitra; Osorio, Alejandra; Sanchez, Alejandra (2009). 100 Years of Spanish Cinema. West Sussex, UK: Wiley-Blackwell. p. 19. ISBN 1405184191.
- ^ a b Goble, Alan (1991). The International Film Index, 1895-1990 Vol. 2: Directors' Filmography and Indexes. London: Bowker-Saur. p. 1456. ISBN 0862916232.
- ^ Triana-Toribio, Núria (2003). Spanish National Cinema. London: Routledge. p. 20. ISBN 0415220602.
- ^ a b c Stone, Rob (2002). Spanish Cinema. Essex: Pearson Education Limited. p. 28. ISBN 0582437156.
- ^ Ibid., 31.
- ^ a b c Faulkner, Sally (2013). A History of Spanish Film, Cinema and Society 1910-2010. New York: Bloomsbury Academic. p. 35. ISBN 0826416675.
- ^ Ibid., 30.
- ^ Mira Nouselles, Alberto (2010). Historical Dictionary of Spanish Cinema. Plymouth, UK: Rowman & Littlefield. p. 11-12. ISBN 0810859572.
- ^ a b Faulkner, Sally (2013). A History of Spanish Film, Cinema and Society 1910-2010. New York: Bloomsbury Academic. p. 30-31. ISBN 0826416675.
- ^ Ibid., 40.
- ^ a b Pavlovic, Tatjana; Alvarez, Inmaculada; Blanco-Cano, Rosana; Grisales, Anitra; Osorio, Alejandra; Sanchez, Alejandra (2009). 100 Years of Spanish Cinema. West Sussex, UK: Wiley-Blackwell. p. 16. ISBN 1405184191.
- ^ Kinder, Marsha (1993). Blood Cinema: The Reconstruction of National Identity in Spain. Berkeley and Los Angeles: University of California Press. p. 460-461. ISBN 0520081579.
- ^ a b Stone, Rob (2002). Spanish Cinema. Essex, UK: Pearson Education Limited. p. 33-34. ISBN 0582437156.
- ^ Mira Nouselles, Alberto (2010). Historical Dictionary of Spanish Cinema. Plymouth, UK: Rowman & Littlefield. p. 262. ISBN 0810859572.
- ^ a b Stone, Rob (2010). Spanish Cinema. Essex, UK: Pearson Education Limited. p. 36. ISBN 0582437156.
- ^ Stone, Rob (2002). Spanish Cinema. Essex, UK: Pearson Education Limited. p. 21. ISBN 0582437156.
- ^ Ibid., 31.
- ^ Mira Nouselles, Alberto (2010). Historical Dictionary of Spanish Cinema. Plymouth, UK: Roman & Littlefield. p. 262. ISBN 0810859572.
- ^ D'Lugo, Marvin (1997). Guide to the Cinema of Spain. Westport, CT: Greenwood Press. p. 5. ISBN 0313294747.
- ^ Ibid., 6
- ^ Kinder, Marsha (1993). Blood Cinema: The Reconstruction of National Identity in Spain. Berkeley and Los Angeles: University of California Press. p. 70. ISBN 0520081579.
- ^ Mira Nouselles, Alberto (2010). Historical Dictionary of Spanish Cinema. Plymouth, UK: Rowman & Littlefield. p. 287. ISBN 0810859572.