Tomás Gutiérrez Alea
Tomás Gutiérrez Alea | |
---|---|
Born | Memorias del Subdesarrollo | 11 December 1928
Movement | Third Cinema |
Spouse | Mirta Ibarra |
Tomás Gutiérrez Alea (Spanish pronunciation: [aˈlea]; December 11, 1928 – April 16, 1996) was a Cuban film director and screenwriter. Gutiérrez Alea wrote and directed more than twenty features, documentaries, and short films, which are known for his sharp insight into post-Revolutionary Cuba, and possess a delicate balance between dedication to the revolution and criticism of the social, economic, and political conditions of the country.
Gutiérrez's work is representative of a cinematic movement occurring in the 1960s and 1970s known collectively as the
Early life
Born in
Shortly after the success of the Cuban Revolution led by Fidel Castro in 1959, Gutiérrez, Espinosa, and several other young filmmakers founded the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC). As ardent supporters of the Revolution, ICAIC was a filmmaker's collective which believed film to be the most important modern art form and the best medium to distribute revolutionary thought to the masses. Gutiérrez's Esta Tierra Nuestra (This Land Of Ours), was the first documentary made after the revolutionary victory. ICAIC focused mostly on documentaries and newsreels in its formative years, but eventually expanded into production of feature films, including Gutiérrez's early Historias de la Revolución (Stories Of The Revolution) (1960), ICAIC's first fiction film, and Doce sillas (The Twelve Chairs), (1962). Stories of the Revolution was entered into the 2nd Moscow International Film Festival[1] and The Twelve Chairs was entered into the 3rd Moscow International Film Festival.[2]
Most popular works
Gutiérrez's first widely successful feature,
His next film,
In a self-reflexive cameo appearance, Gutiérrez calls the film a "collage...with a little bit of everything". Gutiérrez uses a dizzying array of materials and filmic styles in Memories, from documentary-style narrative sequences which use long unbroken shots taken from handheld cameras to agitational montage sequences reminiscent of the films of early Soviet filmmakers such as Sergei Eisenstein. Memories makes use of various types of media including direct documentary footage shot, still photos, archive and newsreel footage, clips of Hollywood films, and recorded speeches by Fidel Castro and John F. Kennedy, to create a seemingly disarticulated film language that is in direct contrast to the straightforward Hollywood style.
Although criticism of the Revolution and Cuban society was at the heart of not only Memories, but all of Gutiérrez's works, Gutiérrez continued to be a dedicated supporter of Cuban Socialism. But his works could hardly be described as propaganda either. Gutiérrez described the motivation for his contradictory approach by saying: "...cinema provides an active and mobilizing element, which stimulates participation in the revolutionary process. Then, it is not sufficient to have a moralizing cinema based on harangue and exhortation. We need a cinema that promotes and develops a critical attitude. But how to criticize and at the same time strengthen the reality in which we are immersed?"
Commenting on his style, Gutiérrez called himself "a man who makes criticism inside the revolution, who wants to ameliorate the process, to perfect it, but not to destroy it".[3]
Late career and legacy
In the following decades, Gutiérrez divided his time between making his own films and mentoring promising young filmmakers through ICAIC.
In 1972 and 1976, respectively, Gutiérrez completed two historical feature films, Una pelea cubana contra los demonios (A Cuban Fight Against the Demons) and
Hasta cierto punto (Up to a Certain Point) (starring Gutiérrez's wife, Mirta Ibarra.) The film underwent some censorship and remains to this day considered by Cuban critics one of his lesser works, though it is still highly regarded. The director himself said jokingly that the film was only successful "up to a certain point"
In the early 1990s, Gutiérrez fell into ill health, forcing him to co-direct his last two films with his friend
Titón, as he was known to his friends, died in Havana on April 16, 1996, at age 67. He is buried in the Colon Cemetery, Havana.
Three of Gutiérrez's films—Death of a Bureaucrat, Una Pelea Cubana contra los Demonios, and Los Sobrevivientes—were preserved by the Academy Film Archive in 2017 and 2019.[5]
Filmography
- La caperucita roja (1947) - short film
- El faquir (1947) - short film
- Una confusión cotidiana (1950) - short film, codirected with Nestor Almendros and based upon "A Common Confusion" by Franz Kafka
- Il sogno de Giovanni Bassain (1953) - short film, codirected with Filippo Perrone
- El mégano (1955) - short documentary film, codirected with Julio García Espinosa and made in collaboration with Alfredo Guevara, José Massip
- La toma de La Habana por los ingleses (1958) - short documentary film
- Esta tierra nuestra (1959) - short documentary film, codirected with Julio García Espinosa
- Stories of the Revolution (Historias de la revolución) (1960) - Fiction, 81 minutes
- General Assembly (Asamblea general) (1960) - short documentary film
- Death to the Invader (Muerte al invasor) (1961) - short documentary film, codirected with Santiago Álvarez
- The Twelve Chairs (Las doce sillas) (1962) - Fiction, 97 minutes
- Cumbite (1964) - Fiction, 82 minutes
- Death of a Bureaucrat (Muerte de un burócrata) (1966) - Fiction, 85 minutes
- Memories of Underdevelopment (Memorias del Subdesarrollo) (1968) - Fiction, 97 minutes
- A Cuban Fight Against Demons (Una pelea cubana contra los demonios) (1971) - Fiction, 130 minutes
- El arte del tabaco (1974) - short documentary film
- El camino de la mirra y el incienso (1975) - short documentary film, codirected by Constante Diego
- The Last Supper (La última cena) (1976) - Fiction, 120 minutes
- La sexta parte del mundo (1977) - documentary film, codirected with Julio García Espinosa
- Los sobrevivientes) (1979) - Fiction, 130 minutes
- Up to a Certain Point (Hasta cierto punto) (1983) - Fiction, 88 minutes
- Letters from the Park (Cartas del parque) (1989) - Fiction, 88 minutes
- Far Apart (Contigo en la distancia) (1991) - segment of the anthology film Con el amor no se juega
- Fresa y Chocolate(1993) - codirected with Juan Carlos Tabío, Fiction, 110 minutes
- Guantanamera (1995) - codirected with Juan Carlos Tabío, Fiction, 101 minutes
See also
References
- ^ "2nd Moscow International Film Festival (1961)". MIFF. Archived from the original on 16 January 2013. Retrieved 15 November 2012.
- ^ "3rd Moscow International Film Festival (1963)". MIFF. Archived from the original on 16 January 2013. Retrieved 26 November 2012.
- ^ Gussow, Mel (17 April 1996). "Tomas Gutierrez Alea, Cuban Film Maker, 69". Nytimes.com. Retrieved 20 January 2018.
- ^ "Berlinale: 1994 Prize Winners". berlinale.de. Retrieved 12 June 2011.
- ^ "Preserved Projects". Academy Film Archive.