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El Último Cine

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El Último Cine Cartel alemán de Estambul 65 (Antonio Isasi Isasmendi, 1965). Bilbao (Bigas Luna, 1978) SuscripciónSuscripción a la a alertala alerta del del programa programa mensual mensual del del cine cine Doré Doré en: en: http://www.mcu.es/suscripciones/loadAlertForm.do?cache=init&layout=alertasFilmo&area=FILMO http://www.mcu.es/suscripciones/loadAlertForm.do?cache=init&layout=alertasFilmo&area=FILMO Ciclos en preparación: Marzo: William Wellman (y II) CiclosAño enDual preparación: España-Japón 3XDOC Febrero:Ellas crean: Nueve cineastas argentinas Muestra de cine filipino (y II) MuestraRecuerdo de cinede: Jesúsbúlgaro Franco, Alfredo Landa, Lolita Sevilla … CasaCentenario Asia presenta: de Rafael ‘El últimoGil (y II) cine iraní’ RecuerdoJirí Menzel de Maureen O´Hara Mikhail Romm Jirí Menzel Brian de Palma Alberto Lattuada Alberto Lattuada Luc Moullet GOBIERNO MINISTERIO DE ESPAÑA DE EDUCACIÓN, CULTURA Y DEPORTE ENERO 2016 Centenario de Harold Lloyd Robert Bresson Recuerdo de Vicente Aranda Costa-Gavras Muestra de cine filipino Muestra de cine palestino (y II) Muestra de cine rumano (y II) Costa-Gavras Mike de Leon rodando Itim (1976) Agradecimientos enero 2016: A Contracorriente Films, Barcelona; Antonio Isasi Jr., Barcelona; Cinemateca Portuguesa, Lisboa; Film Development Council of the Philippines (Briccio Santos, presidente, y Teodoro Granados, director ejecutivo), Makati; Flat Cinema, Madrid; Gaumont, Harold Lloyd Entertainment, Inc. (Sara Juárez), Los Ángeles; Instituto Cultural Rumano de Madrid (Ioana Anghel, Ovidiu Miron); Lola Films, Madrid; Multivideo S.L, Madrid; Oesterreichisches Filmmuseum (Regina Schlagnitweit ), Viena; Plataforma de Divulgación UCM (Ricardo Jimeno y José Antonio Jiménez de las Heras), Madrid; Tamasa Distribu- tion, París; Universal Pictures; Video Mercury, Madrid; Warner Bros. Pictures int. Spain, Madrid; Sony Pictures Spain, Madrid; Star Line Productions, Madrid; Trivision, Valencia. VI Muestra de cine palestino: Salim Abu Jabal, Baha’ AbuShanab, Nora Alsharif, Ahmad Habash, Azza El-Hassan, Basil Khalil, Jumana Manna, Mai Masri, Ibtisam Mara’ana Menuhin, Amer Shomali, Mohanad Yaqubi, Rami Yasin; las productoras Boujabel Productions, Ibtisam films y las distribuidoras Mischief, Incognito films, Intramovies, National Film Board of Canada, Dar Al-Kalima University, y Centro de Estudios de Palestina de la Universidad de Columbia. INTRODUCCIÓN Tras tres meses de trabajos de desinsectación, que nos obligaron a cerrar la Sala 1, la reabrimos este mes con un patio de butacas totalmente renovado. Agradecemos la paciencia y su comprensión de nuestros espectadores. Arrancamos el año con una de las películas más solicitadas en el Buzón de Sugerencias, El mago de Oz (Victor Fleming, 1939). Coincidiendo con su centenario, le dedicamos un ciclo a Harold Lloyd con 11 pelí- culas en copias nuevas en 35mm, cortesía de The Harold Lloyd Trust (www.haroldlloyd. com). El ciclo comprende todos sus largometrajes mudos (a excepción de Grandma’s Boy) entre ellas la famosa El hombre mosca, donde aparece la icónica imagen de Harold Lloyd colgando de un reloj. En el ciclo podremos redescubrir a este maravilloso cómico, que mezclaba el sentimentalismo con una fisicidad en sus acciones realmente magnética. Todas las películas tendrán acompañamiento musical al piano de Marcos Ortiz o de Irene Albar. Aunque hayamos proyectado sus películas en varias ocasiones, sólo le hemos dedi- cado dos retrospectivas íntegras en 1997 y en 2000 a Robert Bresson, uno de los nom- bres claves de la Historia del cinematógrafo, un cineasta que unió rigor y poesía, como los sabios de la antigüedad. Además de sus 13 largometrajes, proyectamos su primer cortometraje Affaires publiques (1934), largo tiempo desaparecido y Robert Bresson, ni vu ni connu (François Weyergans, 1994), capítulo de la serie Cinéastes de notre temps. Este mes le dedicamos un homenaje a Vicente Aranda, fallecido el pasado mes de mayo. Aranda es un director muy importante en la historia de nuestro cine, normal- mente relacionado con el erotismo, tema que trató en muchas de sus películas, aunque también hizo incursiones muy valiosas en el género policiaco o en el de terror. Este mes proyectaremos 18 de sus 25 largometrajes de ficción, entre los que destacan Las crueles (1969), en una copia reconstruida por el autor incorporando los planos cortados por la censura, La novia ensangrentada (1972), en su versión internacional en inglés, Fanny Pelopaja (1984) o Amantes (1991). En paralelo a su nombramiento como Doctor Honoris Causa por la Universidad Com- plutense, reconocido realizador y presidente de la Cinémathèque française desde 1981, realizamos una pequeña panorámica de la obra de Costa-Gavras, figura clave del cine político de los setenta, compuesta por 8 películas. El día 29 estará con nosotros para presentar su película El capital (2012). Este mes termina la Muestra de cine palestino, con los segundos pases de las 6 sesiones programadas en diciembre. El miércoles 13, la película 3000 Layla (Mai Masri, 2015) estará presentada por Rami Arda, el decorador de la película, y el día 15, en la clausura de la muestra, habrá un recital del violinista Ara Malikhian. También se repiten tres películas de la Muestra de cine rumano. En colaboración con el Film Development Council of the Philippines, realizamos una Muestra de cine filipino, un país cuyo cine ha sido recientemente redescubierto, con 8 títulos que comprenden desde el año 1974 hasta 2009. En el ciclo, que se repetirá con dos películas más en febrero, Magnifico (Maryo J. de los Reyes, 2003) e Insiang (Lino Brocka, 1976) destacan cuatro películas de Mike de Leon, uno de los grandes cineastas filipinos y Serafin Geronimo: The Criminal of Barrio Concepcion (1998) primera película de Lav Diaz (a quien dedicamos un ciclo en junio pasado). También añadimos Lola (Brillante Mendoza, 2009), uno de los pocos largometrajes filipinos que han tenido distribución comercial en España. Para completar el ciclo proyectaremos dos de las tres películas españolas ambienta- das en Filipinas (la tercera, Noche sin cielo de Ignacio F. Iquino está desaparecida): Los últimos de Filipinas (1945) y Aquellas palabras (Luis Arroyo, 1948). Esta última película también se daba por perdida hasta que Filmoteca Española encontró una copia en 16mm en Argentina, copia que se ha digitalizado gracias a la financiación del Instituto Cervantes de Manila, que es la que se proyectará el día 7 con la presentación de Carlos Madrid, director del Instituto Cervantes de Manila y Mercedes de la Fuente, Jefa de Área de Fondos Fílmicos de Filmoteca Española. En el marco de nuestra colaboración continua con el Teatro Real proyectaremos La flauta mágica (Ingmar Bergman, 1975), en paralelo a la representación de la ópera en el teatro madrileño. Y con motivo del 50º aniversario de su estreno, haremos una proyección especial de Estambul 65, con la presencia de Antonio Isasi-Isasmendi y de Fernando Méndez-Leite. La proyección irá acompañada de dos cortometrajes recupe- rados y prácticamente inéditos, recientemente depositados en Filmoteca Española por Antonio Isasi Jr. y digitalizados por Filmoteca Española: Un puente sobre el Bósforo (Antonio Isasi-Isasmendi, 1965) y Paseo por la vieja Constantinopla (1967), hechos por Antonio Isasi-Isasmendi a partir de descartes de Estambul 65. HAROLD LLOYD Reconocido hace mucho tiempo como el tercer gigante entre los grandes come- diantes del cine mudo, Harold Lloyd gozó en su época de apogeo de más favor entre el público que Charles Chaplin y Buster Keaton. Su personaje de la pantalla, un joven con gafas de carey, no sólo sirvió de inspiración para el alter ego de Superman, Clark Kent, sino que encarnó la imagen que los Estados Unidos tenían de sí mismos en una etapa de auge industrial en la que nación vivió una rápida transformación de sociedad rural a urbana. Harold Lloyd (1893-1971) personificó al típico chico americano, a menudo un pue- blerino inseguro que se supera a través de una serie de gags de perfecta concepción y cadencia. Su forma de abordar el sueño americano –trabajar duro hasta alcanzar la cumbre, con inagotable energía y firme optimismo– era una proeza con la que se identi- ficaban las masas. “Chaplin y Keaton vivían poéticamente en mundos de su propia crea- ción, mientras que Lloyd vivía, con emoción pero sin asomo de duda, en un mundo que el público reconocía como propio”, escribe Dave Kehr. Ese mundo se definió durante el periodo de plenitud de Lloyd, en películas magistrales como Safety Last (El hombre mosca, 1923). En esta emocionante mezcla de comedia y thriller (un subgénero más o menos inventado por Lloyd), el ascenso hacia el éxito se expresa visualmente a través de un empleado de poco nivel designado para trepar por la fachada del rascacielos de unos grandes almacenes con fines publicitarios. La famosa imagen del finale furioso, Lloyd colgado de las manecillas rebeldes de un reloj gigante sobrevolando las calles de la ciudad es un icono cinematográfico de la modernidad. Al mismo tiempo, es la puesta en práctica definitiva de una idea que Lloyd llevaba revisando y perfeccionando durante toda su vida: en contraste con los comediantes “natos”, Keaton y Chaplin, él era un actor que había alcanzado su virtuosismo mediante concienzudos esfuerzos. Puede que Harold Lloyd fuese menos adecuado para el culto al genio (lo que posi- blemente explicaría que siga siendo comparativamente poco valorado hoy en día), pero este aspecto también pone de relieve su singular autenticidad: trabajó para abrirse camino tanto como los personajes de sus películas. Tras pasar varios años en un teatro ambulante, entró en el mundo del cine en 1912 y, con Hal Roach, produjo incontables cortos de un rollo que le hicieron famoso, aunque eclipsado por el Vagabundo de Chaplin. En 1917 Lloyd creó el conocido personaje “con gafas” (en la vida real él no las llevaba), pero se necesitaron muchos ajustes y la transición al largometraje para que su talento alcanzara su plenitud. En las comedias de Lloyd, de A Sailor-Made Man (Marinero de agua dulce, 1921) a Speedy (Relámpago, 1928), gags asombrosos se someten a una estructura narrativa clásica sin excesos en las imágenes.
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