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ISSN 1409-6900 | UDK 82+7     Blesok no. 09 | volume II | June-July, 1999



                     Peer-reviewed journal
Blesok no. 09June-July, 1999
Gallery Reviews

Tango Querido, Tango Argentino

p. 1
Ilindenka Petruševa

    There are at least three reasons, which make this Carlos Saura’s film – a significant cultural event. Maybe won’t be much money for our cinema distributors, but it’s certain that our turbo-folk spirit will be refreshed by the passionate sounds of the bandoleone… But let’s go back to those three reasons mentioned above: Carlos Saura, a film from Argentina and Vittorio Storraro!
    So, as first (reason) – Carlos Saura: one of the cult Spanish directors, born in Huesca, in the dawn of the Civil War in Spain. He will build up his free spirit in the – almost illegal – Spanish cine-clubs in the 50’s. Loyal to the Spanish tradition, and leaning on his guiding artists (De Cavedo, Goya and Bunuel), and in spite of the severe censorship, he makes his extraordinary films – “Garden of Joy” (1970), “Ana among the wolves” (1973), “Cousin Angelica” (1974) and “(Sheltering) A serpent in the bosoms” (1976). In those films, with an unseen eagerness he reveals the citizenship’s society crisis, torn between the memories of the Civil War and Franco’s dictatorship.
    As second (reason) is of distributing/producing nature. About the distribution – it’s fantastic that among the flood of American movies in our cinemas, an Argentinean film is shown; and about the production – it’s even greater the fact that this is an Argentina-Spain co-production. Namely, in the last decade, much of the Latino-American cinematographies (Mexico, Cuba, Argentina, Venezuela) are producing their most significant films in co-production with Spain (oh, that old conquistador!). The wars of Bolivar and Jose Marti remains in the history, and the new present requires a new ties with Spain (it’s Europe, isn’t it, and it’s obvious that the Latino-Americans are fed up with their big northern uncle). Anyway, all the Latino-American film-dissidents went on with their careers in Europe.
    And as third (reason), but not the last, is the great Vittorio Storraro. The Bertolucci’s and (Copolla’s also) favorite director of photography Vittorio Storraro (“The spider’s stratagem”, “Conformist”, “The last tango in Paris”, or “Apocalypse now”), in Saura’s film “Tango”, creates an unseen gamma of glommed color, so the viewer can’t tell whether it is a color, or a black & white film. The human soul is founded in the play of the shadows, in the dance between the light and dark. Extremely simple! And extremely wonderful!
    Carlos Saura follows his basic authorial paths and occupations in “Tango” as an independent director and

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