Jose Luis Garcia presented in this movie his book is about one of the films that he most remembered in his life, Gone With the Wind. memory, comment. During an interview with Andrew Arconada director makes sure that gone With the Wind “remains the same” since it was released in 1939 in the US. In Spain, we had to wait a little longer, especially before 1950, and when it happened you could see it only in Madrid and Barcelona. “Spain stopped after the war, and after the war everyone heard about it.”
With gone With the Wind The 1950s experienced the phenomenon that Madrid is currently experiencing with the Gran Vía musicals, which have become a tourist destination. “People came from everywhere during the weekend, and everyone went blind.” The public was dazzled by what they had just seen happen to the Oscar-winning Spanish director.
Garci tells how “The Palacio de la Música was my first cinema communion: porters, ticket clerks, bar workers … it was an entry into a profession that was going to tell me at the time that years later she would be mine. “If you are religious,” the director continues, “it was like a cathedral, in these cinemas had a lot of marble on the stairs, they were beautiful.”
And the Palacio de la Musica, unfortunately currently closed, was directly related to gone With the Wind it took so much to impress Garcy. “If it was in a small cinema, it wouldn’t have made such a strong impression on me, but the splendor of this cinema, billboards is what I felt again when I was in Radio City of New York“. There he went with Antonio Mercero to the premiere what happened doctor“it was cool listen to how 6 thousand people laughed at the same time, there were times when the dialogue was not heard. In fact, for Garci, “cinemas on the Gran Vía, like the Avenida or the Palacio de la Musica, had a certain North American spirit, New York baroque.”
Cinema Palacio de la Música, which has always been present in his life: “I was lucky to make the premiere Grandfather there I remember that when it was 8 o’clock in the afternoon, before everyone came, with an empty theater, I went upstairs and thought: “When will the next time I see these full halls without a premiere.” It was 1998, “and cinemas began to lose power, screens entered homes.”
Arconada says that at the Palace of Music “my grandfather first took me to see Marisol, who later became a myth for me, and I remember that it was full of people who applauded with great admiration every time she finished singing. into the movie.”
Garci remembers exactly that same day he went to the Imperial Cinema on the Gran Via. Perfect crime Hitchcock: “As I was leaving, I saw a cloud of photographers and they said there was Marisol’s girlfriend, it was amazing premieres with beams of light, like in Hollywood.” It was a time when “people got up early on Sundays to line up at the cinemas and buy a ticket for noon.” Premieres in style as in high heels Almodovar. Arconada tells how “they filled the entire Gran Via with cars and gave us all a bottle of Chanel.”
Gone with the wind, the war of the sexes
Come back to gone With the WindGarci explains that it was really ” war of the sexes for a whilewith “Scarlet O’Hara who was a determined and independent woman in front of Butler’s character, no one better than Gable made this movie, it’s written for him, scoundrel, cynic but with values, legal type in short.” Garci recalls as “Alfonso Sanchez always fondly said that they are two sons of bitches“.
Garci explains the importance gone With the Wind“Despite the many directors, this is a special film, analogue Birth of a nationaccording to Griffith, where cinema takes a turn.” Well, with gone With the Wind “movie takes another turn to marvelous color, colorful“. Indeed, remember how, going to her, “I told my father that these colors are more beautiful than the rainbow.”
Gable, “star of Spanish cinema”
It was a time when “American cinema it was not perceived as a foreign film because it was dubbedif Spencer Tracy or Gable knocked on any Spaniard’s door, they would invite him in because they were like family, they were our stars“. In that Spain, “foreign cinema was Hungarian or French.”
Garci fondly recalls how “my mother died, poor thing, thinking paul newman spoke spanish“. It was because of “Franco, if it was like Portugal, a bit of English would stick to us from listening to him so much.”