Publication: La Celestina en el franquismo: en torno a una frustrada película de José Luis Sáenz de Heredia
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2014
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Universidad de Concepción, Facultad de Humanidades y Arte, Departamento de Español
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Abstract
Este artículo aborda un capítulo tan olvidado como significativo de la recepción de la Celestina en el siglo XX. Basándose en documentación de archivo, editada en el apéndice, analiza un proyecto de película que el cineasta franquista José Luis Sáenz de Heredia sugirió al director general de Cinematografía en otoño de 1955. El intercambio epistolar se produce pocos meses después de que Basilio Martín Patino publicara sobre el mismo asunto en Cinema universitario y de las famosas Conversaciones de Salamanca, en las que los jóvenes cineastas disidentes defendieron el neorrealismo como modelo para las películas españolas. De acuerdo con la ponencia del comunista Ricardo Muñoz Suay, la Celestina era un ejemplo claro de esa forma de entender el arte. A pesar de su interés en el clásico por influencia de Ramiro de Maeztu, Sáenz de Heredia, consciente de los infinitos problemas que una adaptación cinematográfica de la Tragicomedia de Calisto y Melibea podía tener con la censura franquista (él mismo confesó que “la Celestina era tabú en aquella época”), abandonó el proyecto.
This article focuses on an intriguing and overlooked chapter in the reception of La Celestina in the twentieth century. Based on archival documents transcribed in the appendix, it sheds light on a Celestina film project suggested to the General Director of Spanish Cinematography in fall 1955 by the Francoist film director, José Luis Sáenz de Heredia. The epistolary exchange took place a few months after Basilio Martín Patino wrote on this very subject in Cinema universitario and after the famous Conversaciones de Salamanca, in which young dissi dent film producers argued in favour of neorealism as a model for Spanish cinema. According to the paper given at that conference by Communist Party member Ricardo Muñoz Suay, Celestina represented just such a form of artistic understanding. Despite an interest in the classic work inspired by Ramiro de Maeztu, Sáenz de Heredia was well aware of the many problems that a film adaptation of the Tragicomedia of Calisto and Melibea could face under strict Francoist censorship. The film director ultimately abandoned the project, later decla ring that “Celestina was a taboo during that period”.
This article focuses on an intriguing and overlooked chapter in the reception of La Celestina in the twentieth century. Based on archival documents transcribed in the appendix, it sheds light on a Celestina film project suggested to the General Director of Spanish Cinematography in fall 1955 by the Francoist film director, José Luis Sáenz de Heredia. The epistolary exchange took place a few months after Basilio Martín Patino wrote on this very subject in Cinema universitario and after the famous Conversaciones de Salamanca, in which young dissi dent film producers argued in favour of neorealism as a model for Spanish cinema. According to the paper given at that conference by Communist Party member Ricardo Muñoz Suay, Celestina represented just such a form of artistic understanding. Despite an interest in the classic work inspired by Ramiro de Maeztu, Sáenz de Heredia was well aware of the many problems that a film adaptation of the Tragicomedia of Calisto and Melibea could face under strict Francoist censorship. The film director ultimately abandoned the project, later decla ring that “Celestina was a taboo during that period”.
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Este artículo se inserta en las investigaciones del proyecto Epistolarios, memorias, diarios y otros géneros autobiográficos de la cultura española del medio siglo (referencia: FFI2013-41203-P), dirigido por el profesor José Teruel (Universidad Autónoma de Madrid) y financiado por el Ministerio de Economía y Competitividad.