# Óperas primas que no parecen primas. Primera parte.

An episode of [Lloviendo cine](https://invisiblenetwork.ai/podcast/1657439655), 13 May 2024, 34 min.

Audio: https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/59994365/lloviendo_operas_primas.mp3

En el programa de hoy de Lloviendo cine vamos a hablar de óperas primas. Pero no de unas óperas primas cualquiera, sino de aquellas grandes primeras películas de grandes directores que no parecen en realidad sus primeras películas, dada la calidad de las mismas o lo primerizo de sus realizadores, en algunas ocasiones auténticos novatos a la hora de sentarse en la silla de director. Las músicas del podcast proceden de: Charles Gounod (composer)User:Erinaceus (uploader), CC BY-SA 3.0 , via Wikimedia Commons https://musopen.org/music/43775-the-planets-op-32/ Antonín Dvořák, CC BY-SA 4.0 , via Wikimedia Commons

## Transcript

[0:26] Well, come on, we' re staying here. Start more of your
[0:32] favorite podcast I watching ending, which are all pertinent conveniently invited. You don
[0:38] ' t need any kind of entry, you don' t need any permission.
[0:42] The doors are wide open because it is important to start things well,
[1:03] that everything goes out to the first, as colloquially is said, start with
[1:07] good foot or more colloquially still arrive and kiss the saint, because that made
[1:14] the people that we will talk about in him by branch of today, of
[1:17] it, watching cinema, people that nobody knew and that, suddenly, a
[1:21] good day of the night in the morning, as they say now, kicked
[1:23] it. We don' t know if we' re going to do it,
[1:30] but we want to start off on a good footing. For that it
[1:33] is best to look at the sky, to invoke the clouds that discharge and
[1:38] to ask for it to start and raining cin and that we have thought to
[1:44] speak in today' s program of it watching cinema, because we have already
[1:48] dropped it at the beginning. We' re going to talk today. It
[1:49] is worth the redundancy of beginnings, beginnings and cinematographic debuts of great filmmakers,
[1:59] of which in the length is known as raw operas. It' s weird
[2:05] to say prima operas or it' s called prima operas. Sounds like a
[2:10] better cousin opera. But we' re not going to talk about principles,
[2:15] beginnings or any movie debuts. Today we' re going to talk about prima
[2:24] operas that don' t seem to be prima operas. Program conceived and scripted
[2:30] by our collaborator in the shadow, Don Juan Solo to what we say we
[2:57] are not going to talk about a few beginnings, because what we are going
[3:01] to talk about, precisely in the program of iovindo cinema, is of prima
[3:08] operas that do not seem to be operas, cousins, films that did suppose
[3:15] the release of a director in the world of cinema, of a great director,
[3:20] but with enough quality those works to make us think that in reality it
[3:25] was the work of an accomplished expert. Premium operas that, in much of
[3:30] the cases, meant a brilliant start to a brilliant career. But sometimes this
[3:38] brilliant beginning was so dazzling that its creator in question would not be seen in
[3:46] another of those. In his entire life there are directors who were already on
[3:52] too high a bar, so high that they were then unable to overcome it.
[4:00] Directors whose best film is their cousin opera. But we can also meet
[4:06] with exactly the opposite filmmakers whose beginnings were nothing to be missed and who did
[4:15] not foretell that we were in front of a budding teacher. There we have,
[4:23] for example, Peter Bogthanowich, the great Peter Bogdanovich, whose first film
[4:29] of the year nineteen hundred and sixty- eight led by title a journey to
[4:35] the planet of predictive women, which is no song of the dragon orchestramon and
[4:42] whether it was what the title allowed to guess a small or a great misdemeanor.
[4:47] Then, then, the last film would come or pass me doctor,
[4:53] with which Bogdanowicz' s talent was confirmed and would be out of doubt,
[5:00] but no one would have told Goodgar for that first film. So in the
[5:06] raining cina of today we are going to resort several times to our classic,
[5:14] to which it seems we will ask more than once the question that it seems
[5:19] that this film is not a prima opera, that it is not of a
[5:25] debutante. We can also find the next issue. Ah it seems that this
[5:30] film, that this prima opera, was not his first film, that we
[5:36] didn' t know, that that film was his opera cousin and sometimes you
[5:43] wonder, but it didn' t have some movie before and other films are
[5:50] so renowned, so famous or so important that you really say that this was
[5:57] an opera, it wasn' t another director' s with Safra, because
[6:03] other questions will appear on more than one occasion in the two shows. We
[6:05] already advanced it that we are going to dedicate to these prima operas, which
[6:12] do not look like primal operas, and we started with the first great ones
[6:18] of cinema when this one still did not know how to speak, And it
[6:24] was not easy to point out with that first great work magnificent and recognized there
[6:28] for the early times of cinema. In those years there was a lot of
[6:31] experimentation, of giving sticks of blind or of touching many keys until finally they
[6:36] were nailed. He wasn' t right with the hammer in question. In
[6:42] addition, the first works of the greats were far from what we consider to
[6:48] be films today. At first they were small pieces. Many of them barely
[6:53] exceeded the minute of duration, as in the case of the arrival of the
[6:58] train to the station of the Brothers Rumier, considered traditionally and conventionally the first
[7:03] quotation marks of history. But we do not even know whether or not it
[7:12] is the primal opera of the history of cinema, as it was part of
[7:15] a set of pieces that were exhibited in the same session that took place on
[7:20] the twenty- eighth of December of one thousand eight hundred and ninety- five
[7:27] on the Boulevard of Capuchin in Paris. We know that for sure, the
[7:30] first public cinematic exhibition in history. It has always been said that the first
[7:39] film of those filmed by the Lumier brothers was the departure of the workers from
[7:44] the factory. Even if you' re going to know to start our review
[7:49] of prima operas that don' t look like prima operas, we have to
[7:54] take a little leap in time and leave. Until the decade of the twentieth
[7:58] century already passed a little in which the image of cinema had already been consolidated
[8:03] as an art, specifically in seventh art. At that time the first film
[8:11] movements emerged and were created in the first film schools. One of them was
[8:18] the Soviet School founded by Josheph Stalin. Man. We are not going to
[8:24] get into Mr Stalin' s political and ideological Honduras at this point. That
[8:31] would be Harina, from another sack and from other habits. But Mr Stalin
[8:37] was the first to consider the enormous propaganda potential of the Haya cinema. For
[8:46] a thousand nine hundred and twenty- five, Mr Stalin was concerned to present
[8:54] to the Soviet people a film that recreated the uprising against the Tsarist army in
[9:01] the still Ukrainian city of Odessa today. Twenty years ago, the commission was
[9:05] offered to one of the most outstanding students of that Soviet film school, a
[9:13] certain Sergey mi Highlowicz, eins state that that same year will premiere the powerful
[9:20] battleship. Curious that the Potentine battleship, one of the great masterpieces of cinema,
[9:26] was a commission, a work never better said revolutionary in which Einstein exposed
[9:33] his famous theory of montage. They continue to collect ideas that had been outlined
[9:46] earlier by other Western filmmakers, such as the American David wall Criffith or the
[9:52] French Abelgans. Well, it would seem that the battleship Potenkin was not a
[9:58] primal opera, indeed, and not only that, but that in that same
[10:01] year, nine hundred and twenty- five, Mr Encestein premiered the strike,
[10:09] another fundamental work in the history of cinema and in the development of film production.
[10:16] And, at the end of that same decade of the 1920s, another
[10:20] prima opera that did not look like prima opera, premiered in France, the
[10:26] country in which the cinema was born, although its director was Spanish Turolense to
[10:31] be exact Calandino beyond and his name was Don Luis Buñuel. The film A
[10:41] Andalusian dog of nine hundred and twenty- nine, with script by the director
[10:46] himself, along with his then intimate friend Salvador Dalí based on the soneric experiences
[10:54] that both had at night and financed with the twenty- five zero pesos of
[11:01] the time that the Mother of Buñuel herself will bring, a film that would
[11:11] lay the foundations of film surrealism, another work, by the way, revolutionary
[11:16] and capital in the history of cinema. Of course, if we are talking
[11:20] about revolutionary works that forever changed this so- called seventh art, we must
[11:28] refer to the first film of one of the great geniuses of all time.
[11:35] We crossed the puddle and stood in the year nineteen hundred and forty, the
[11:41] year in which a young man from Quinosa, Wisconsin, USA, by the
[11:48] name of Orson and by the name of Wells, was debuting, his first
[11:56] - named citizen opera that said that it had not been said, that it
[12:01] had not been written, that it had not been heard, of which for
[12:07] many it is the best film in the history of cinema for years, at
[12:13] the top of the lists intended to reward film excellence. The film of critics,
[12:16] as it is usually called, full of findings, both technical and narrative,
[12:22] that will make history. The truth is that, before arriving at the
[12:28] cinema, Mr Wells had already shown his talent and genius. Two years earlier
[12:35] he had terrorized his entire country through the waves, with his peculiar and particular
[12:41] version of the World Wars of Mr h G. Wells, a nationwide radio
[12:48] program that recreated an alleged alien attack on Wells Earth. In this case dor
[12:58] Nordson. Wells had also stood out in the theatre as an expert in Shaespeare
[13:03] ' s work as director of the Mercury company he had founded himself. By
[13:11] the way, many of the actors appearing in Kan were members of this theatrical
[13:18] company, including Don Joseph Cotten or Dona Agnes Morret. But, despite the
[13:26] importance that Kane has today, the film was not exactly enthusiastically received at that
[13:33] time, partly because of the smear campaign developed by the press magnate, William
[13:39] Randolphers, on whom the protagonist of the story, Charles Foster Kane, was
[13:45] inspired. The film had a total of nine nominations to the gooses, but
[13:52] it could only win a statue of the best script for the work of Wels
[14:01] himself and his collaborator German Mankevich, or we would have to say it the
[14:09] other way round and a year after the release of citizen, Kane takes off
[14:16] the career of another well- known director on this occasion with a title that
[14:20] will be key to the evolution of one of the most genuine genres of the
[14:24] seventh art, the Enegro cinema. In a thousand nine hundred and forty-
[14:28] one, John Houston takes to the screen the film adaptation of Darsial Hammet'
[14:35] s novel, the Maltese hawk, starring Humpry Boar, just a little while
[14:43] before starring Casa Blanco and tucked into the skin of Detective Sam Space. Yes,
[14:48] gangsters and detectives with Gabardina had already been shown on film screens in the
[14:54] 1930s. In fact, the Houston film was a rite of another from the
[15:00] year nineteen hundred and thirty- one, but this opera takes precedence over the
[15:05] halcon maltest marks the coming of the nor police genre. For the remains,
[15:11] it also marks Mr Houston' s career, which will close four decades later
[15:18] with another film by Don Dublinese of the year nineteen hundred and eighty- seven.
[15:24] Maybe it' s Houston one of those few directors who has a debut
[15:31] and a film will that' s almost perfect between a point and a point.
[15:39] A somewhat irregular race, everything has to be said with undisputed titles,
[15:45] along with other less successful ones, but John Houston was always a guy willing
[15:52] to risk, making him one of the greats. And in the year nineteen
[15:56] hundred and forty- three, himself with echoes of black cinema, takes place
[16:00] the debut in the profession of Italian Lukino Visconti. His first film Obsession,
[16:08] a very free version of James M' s classic. Cain. The postman
[16:12] always calls twice what time later he would be taken back to the screen.
[16:17] Even twice. Obsession is for many critics the beginning of the Italian neorealist movement,
[16:26] although for many that first Italian neorealist film was romáccica aperta by Roberto Rossell
[16:33] released in the forty- fifth year. However, with obsession, the career
[16:38] of one of the greats of European cinema begins, also with some ups and
[16:44] downs, Don Luky Noviscott, and also in Europe. But in nineteen hundred
[16:49] and forty- four she debuted in the Lorence Oliver direction and could not do
[16:56] it with anything other than an adaptation of her most admired Williams Spel. The
[17:00] one chosen was Enrique V with Olivier himself as protagonist. And although it may
[17:07] be a few years ahead of events, in particular four decades later, it
[17:15] must be said that another of the filmmakers six pyrians par excellence, Dow Kenneth
[17:21] Branagh, also chose an adaptation of Henry V to begin his career in film
[17:29] management. It was in the year nineteen hundred and eighty- nine, a
[17:33] film in which, by the way, Brenak himself gave life to the character
[17:40] of Henry V. Casuality or not, that two pro spiritians would begin with
[17:45] the same work with Henry V. Or it was a tribute by Don Kenneth
[17:49] Branack to Don Lorenz Olivier. And what another great one premiered his first film
[17:57] in those years, for Mr Elia Cathan to whom more than by more or
[18:03] less dark events of his life. We should remember for some of his magnificent
[18:10] films, among them the first, a moving melodrama set in New York from
[18:15] the beginning of the century and that in Spain recognized as human ties year one
[18:22] thousand nine hundred forty- five, to that it seems, certainly that his
[18:29] prima opera could have been one of the films in which he directed Marlon Brad,
[18:33] for no, the prima opera of Ellia Gadán was human ties. Equally
[18:37] touching is Martin, a film with which in a thousand nine hundred and fifty
[18:44] - five debuts in the cinema Delbert Mann Delbrman had already directed the story of
[18:51] that single butcher who still lives with his mother and who has proof to relate
[18:56] to the girls. In a telefilm that aired the series in the fifty-
[19:00] third year, the film version featured the great great Ernest Bornein, who won
[19:07] in that year' s edition the Oscar, the best main actor. For
[19:15] this role and not only that, Martí had already made himself with the golden
[19:22] palm of the Nekan festival before rising with the Oscar to the best film of
[19:27] the following year and thus became the first prima opera to win the most prized
[19:34] statue. This fact is often overlooked and not valued enough. Marty was the
[19:45] first prima opera to win the Oscar for the best movie. Credits to Mr
[19:52] Mann and credit to Mr Borney as well. And from Hollywood we' re
[19:56] going to go to other places in the world where there were also great prima
[20:30] operas and far away from Hollywood. Almost like this in Bollywood, nothing less
[20:33] than in India, also in that year, in that great year for cinema,
[20:37] as we are seeing one thousand nine hundred and fifty- five, began
[20:42] the film career of master sathagit Ray with the film The Song of the Road
[20:49] and which supposed himself the beginning of his famous Apple trilogy. It seems,
[20:56] given the high quality of these first ones, that the films of these great
[21:02] directors, that in reality, these primal operas were that I was the third
[21:07] or the fourth fifth film of their filmography and were not the first. In
[21:14] fact, it seems that Sati agit Ray had directed more films before than and
[21:22] the trilogy of Water, by the way, trilogy that we claim and that
[21:27] we recommend from now on in the program today of Oviedo Dozi and closer.
[21:33] Here in Spain, in the early fifties, two of our greatest directors,
[21:38] Juan Antonio Bardem and Don Luis García Berlanca, had made their debut in the
[21:45] cinema, who in the year one thousand and fifty- one had signed in
[21:49] Comandita and Ara Limón the film that happy couple. Two years later, they
[21:57] both collaborated on the n the mythical Welcome, Mr. Marshall, although in
[22:03] the credits he only appeared as director. Don Luis García Merland for what is
[22:10] often considered this film the debut solo opera of Don Luis, a jewel of
[22:17] our cinematography that cannot be missed in the list of the best Spanish productions of
[22:25] all the guys, which could be this story starring Pepeisberg and Mano Lo Morán
[22:30] our first palm of gold in Kant. If not because someone on that year
[22:37] ' s jury, at that festival, got micchis miquis bothered him a couple
[22:42] of things that were said in the film about the inhabitants of the United States,
[22:48] true Don Eduard dy Robinson. In short, let us show this great
[22:56] actor, Edward and Robinson, of just mercy, who do not have the
[23:03] protagonists of our next film, Twelve Men without Mercy, which premiered in nineteen
[23:10] hundred and fifty- seven with an exceptional cast by Henry Fonda and which was
[23:18] directed by a novice. The one responsible for this essential judicial drama was without
[23:25] Ney Lumet, one of the top representatives of the so- called first generation
[23:30] of television. It seemed that without Ilumet he had directed some film earlier than
[23:37] twelve men mercilessly. Man. Lumet came from the world of television, but
[23:45] as far as cinema is concerned, this was his first film. We again
[23:49] consider this one that looked like another gentleman. By the way, don Cine
[23:55] Lumet also has a somewhat irregular career, but which one can be considered as
[24:00] one of the great renewals of the post- classical cinema and Silumet is one
[24:07] of the outstanding representatives of this first generation of television. The second generation will
[24:12] be led by names such as Magnichols, who, like Humet, will always
[24:18] reveal himself as a great actor director. On his first chance to get behind
[24:26] the cameras, he directed nothing less than the couple formed by Richard Burton and
[24:32] Elisabetheilo. We could almost say the couple of the moment, both cinematographically speaking
[24:41] and outside the cameras and who starred in an electrifying interpretive duel in the film
[24:49] of the year nineteen hundred and sixty- six, who comes to Virginia Wolf
[24:56] the prima opera of Mgnicos. By the way, both would win the Oscar
[25:02] for the best actor and actress for this film, and Nichols also won the
[25:07] Oscar for the best direction. But the following year, for his second film,
[25:14] The Graduate, and we return to Europe and go back a few years,
[25:21] because at the end of the fifties, in the old continent there takes
[25:26] place a real cinematographic cataclysm and with consequences that would spread throughout all corners of
[25:34] the civil land. We are obviously talking about the appearance in France, the
[25:40] Nobel Back. Former street critics and chinema decide to change the pen for the
[25:47] House and get to work to put their theories and ideas on what cinema should
[25:52] be like. And these gentlemen change everything with their way of filming and telling
[26:12] stories in a different and personal style. And there are films that we have
[26:19] talked about here in raining cinema, for more than a thousand times and we
[26:25] will not tire of doing the four hundred strokes of triumph fifty- nine or
[26:33] at the end of the escape of the year nine hundred sixty of Jan Nicolar
[26:40] Johnqu Rojo. Of course it is obvious to say that if they were film
[26:45] critics who left the pen for the House, they were their first films,
[26:51] they were their first operas and so were Jack' s first works of my
[26:56] Lola of the sixties and one or Jack Rivet Paris. We also belong to
[27:03] that vis Win or to someone as much in the circle of the new wave
[27:08] as Lui Mal who in the year nineteen hundred and fifty- eight surprises with
[27:15] the magisterial elevator for the scaffold. Although in the case of Mal it would
[27:19] have to be nuanced, since he had debuted before in the direction co directing
[27:26] with the famous oceanian Graf Jack, just the documentary of the year fifty-
[27:32] five, El Mundo del Silencio, winner certainly of the Palm de Oro,
[27:36] in the first documentary that got that preo and not happy with it would win
[27:44] the oscar to the best documentary film of that same year and in that same
[27:49] thousand nine hundred and fifty- five, the only woman member of this group
[27:55] debuted in the cinema Agnes Baghdad. It features the Point Coupe, a film
[27:59] that features in a semi- documentary and realistic tone. A love story in
[28:03] a small fishing village on the French coast, a love story between a young
[28:08] man, Philip Noiguet and Silvia Mzo. Some have even considered this film ernest
[28:17] Arda the first great film of the novel several years before the four hundred strokes
[28:23] of trifo that traditionally is considered the starting gun of this movement. It is
[28:33] also argued that Ernes Baghdad, as a feminist icon, was a victim of
[28:38] the thought of the time. But the effects of the seism provoked in France
[28:44] by the nouelva were felt throughout the decade in other countries where equal movements arise,
[28:53] the so- called new European cinemas, with young filmmakers eager to tell
[29:02] stories in a different way, arise from all the corners of the old continent,
[29:10] and so in Poland we have Roman Polanski, who presents his first film,
[29:15] The knife in water year one thousand nine hundred sixty- two, or
[29:19] in Italy to Bernardo Bertolucci, whose film debut is also produced in that thousand
[29:26] nine hundred sixty- two with the dry gum with pier script Paolo Passoli,
[29:34] compatriot of Mr Bertolucci, is a velocian frame that premieres his first film in
[29:41] one thousand nine hundred sixty- five, the shocking hands in the pockets,
[29:48] a film that we claim and that we recommend from now on the Ovindo Cinema
[29:53] program, because it is one of the least known of all that we have
[29:59] appointed and because it is a director of the least recognized of the great directors
[30:04] of which we are now. And in the Soviet Union will emerge the indispensable
[30:08] figure of André Tarcos, his first feature film, Ivan' s Childhood.
[30:15] Me too in nineteen hundred and sixty- two, after several half- length
[30:21] films that had already caught international attention, such as the murderers of fifty-
[30:26] eight or the violin and trample on the worship of the year sixty- one.
[30:30] And we are going to finish today' s show of raining cinema dedicated
[30:36] to the prima operas in Spain, with examples such as those of Don Carlos
[30:41] Saura and his first film, Los Golfos del año nineteen hundred and sixty,
[30:48] and a sanchez debut by Mario Camus of the year nine hundred and sixty-
[30:52] three and set in the world of boxing or Don Miguel Picazo, a gentleman
[30:59] to whom we would have to revisit more to least a gentleman with few but
[31:04] magnificent films that in his first cinematic adventure of the year sixty- four,
[31:10] adapted magisterially the novel by Don Miguel de unamuno. The titula and so far
[31:41] has arrived one more program of your favorite podcast raining cinema, in which it
[31:45] has been the first of the two programs that we are going to dedicate to
[31:51] the prima operas of the cinema, that do not look like prima operas,
[31:56] first films of great directors that sometimes we have already seen it seems that they
[32:05] were not first films by the magnitude of them, by their greatness and by
[32:08] their quality. We' ve got a few left. We need to talk
[32:14] about the last great movie operas. We have several great names left. We
[32:22] will devote our next programme to this. Wait for the President to have been
[32:27] of your total pleasure. We didn' t fire you until the week that
[32:31] you know what we' re going to talk about. Then we can only
[32:36] thank you very much for your attention, much more your patience and make the
[32:40] final culinary recommendation of all eight. Seeing the end, eat a lot of
[32:46] bananas that is very healthy, remember the first time you took one of them
[32:52] and, above all, when you look at heaven, you know what you
[32:54] have to do. Find your cloud. We all have one. When you
[32:59] have confidence and conversation with her, you have to tell her very loudly and
[33:04] clearly what rains with par ten.

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