This year’s San Sebastian Film Festival is in mourning for Spanish director Mario Camus, who is celebrating his Nobel Prize-winning Camilo Jose Sela – Ignacio Aldecoar for his famous Spanish novels such as “Young Sanchez” and “La Colmena”. “He died on Saturday in Santander, northern Spain, where he was born. Camas was 86 years old.
Among the successes of his career, Camus received the Berlin Golden Bear for Best Picture, along with the Cannes Prize Ecumenical Jury Award for “La Colmena” (1983), “The Holy Innocents” (1984). Such films proved a high point in the dreams of Spain’s ruling socialist left, when Pillar Miro retained the social edge of Spanish cinema in 1982 as head of Spain’s ICAA Film Institute but premiered its production level to the European stage.
Camus participated in Cannes Directors for Night and “Shadow in a Conflict” (1993) at the Moscow Festival. In 2011, the director was also honored with the Spanish Academy Goa Lifetime Achievement Award.
He was part of a new generation of so-called Spanish movies, including director Carlos Saura তার his liberal 1959 feature debut with the Spanish master Camus, “Los Golphos” and his second tour, 1963’s Buell-influenced Western “Weeping for a Bandit” – Basilio Martin Patino. Luis Borau, Francisco Reguero, Julio Diamante and Miguel Picazo.
Camus’s career spans more than forty years, from the debut of his Los Farsantes feature in 1 feature to his swan song “El Prado de las Estrellas” in the 200s.
In addition to the ability to adapt the work of Spanish language masters, such as the 17th-century author Calderon de la Bar্সa, including the 1st-century Spanish “La Leন্দnda del Alcalde de Jalamiya”; Poet-playwright Federico Garcia Lorca “The House of Bernarda Alba” (1983); And with Eduardo Mendoza’s “La Ciudad de los Prodigios” (1999), his skills shone in other popular genres, including Spanish star Sarah Montiel, Raphael and Marisol, “Shadow in a Conflict” and even several other genres, including dramatic comedy. “It simply came to our notice then. His work is always performed by faithful craftsmen.
A charismatic Antonio Gades, a 1966 lyricist “Con El Viento Solano”, a contestant in Cannes Palme d’Or, and a playwright during his escape from Spanish law, and a 1945 set “The Day of the Past,” where he played a Mackie. Who does not hold his hand.
In total, the filmmaker featured features and was behind the camera for several enduring Spanish TV series – “Fortune and Jacinta” (1980), the acclaimed “Kuro Jimenez” (1977) and one of the most ambitious series ever made in Spain, “La Forza”. De An Rebald “(1990), to name a few.
Shortly after Camus missed Palme d’Or with “The Holy Innocents” in 1984, the director was at a restaurant when actor Dark Bogard arrived. A server sent a note to Camus, written on a napkin, that read: “Milana Bonita” (beautiful kite, bird), an expression repeated throughout the features of the great Spanish actor Francisco Raval Camus, acknowledging that Bogard is a fan, and perhaps hint. Given that he liked to win Camus.
Like many Spanish movies, the director didn’t get the recognition in life that he deserved, with one exception, at the 1984 Valladolid Film Festival, a great full-length.
Camus would politely say that great Spanish movies are always written with a “B” – referring to the three greats of Luis Buুনuel, Luis Garcিয়াa Barlanga and Jose Antonio Bardem. Now, Spanish cinema ends with a “C” of the longest and brightest careers
John Hopewell contributed to this article.