Premiered in 1967, the burned skin did not have the problems with the Franco censorship who did suffer from other films by Josep María Forn, filmmaker born in Barcelona who has just fallen at 93 years after a lifetime dedicated to the cinema. It seems almost incredible that this film will be released, because it portrays with relentless neo-realistic raw the Spain of that time through the day by day of a rude palette of Guadix, played by Antonio Iranzo, who has emigrated to the Costa Brava, where it is built Without rest to receive the waves of tourists. While he waits for his family from arriving from the town, the Iranzo amoral lies with a Belgian woman. Nobody goes well stopped. In Catalonia it exploded, in Andalusia it would have died of hunger. A hard film, without concessions, that has risen to the category of undisputed classic of our cinema, and that, in 2012, was the subject of a sour controversy on the pages of this same newspaper. Arcadi sword wanted to see her as a criticism of the Pujolism Avant La Letre and the filmmaker replied that Pujol had congratulated him with the film. Division of opinions.
Forn did have many problems with the subsequent response (1969), which stumbled up to 24 times with the non-censorship Commission, and could not be released until 1976, once the dictator is killed.
The film talked about a political murder at one time, that of the student revolts, which hardened the filters of the censoring apparatus.
In his day, FORN was still able to present it at the Molins Festival of Rei, he dismissed at the scheme before the public present, to be cited the next day at the Ministry of Culture, where they invited him to move away from the world of cinema.
Before the triumph of burned skin, he received several recognitions-among them the silver frame for Iranzo-Fort had carved a reputation as a solid filmmaker capable of managing with all genres.
He contributed to the bandit cinema with José María (1963) and comedy with the private life of so (1961), in which Fernando Fernán Gómez devaciated to please the whims of his woman.
But he shone mostly in the black genre.
He debuted with Me Maté (1957), he had a first found with censorship as a result of death penalty?
(1961), which had to be corrected because in Spain no judicial errors were given, and it shined greatly with death at dawn (1959), one of the great classics of ‘Noir’ Catalan, which was an adaptation of one of the few known novels
From the mythical editor Mario Lacruz.
Innocence and guilt were always the main obsessions of filmmaker.
After the displeasure of the response, it took me to rejoin the cinema. But in 1975 he founded the institut of Cinema Català, from which he promoted newscasts with topics such as Tarradellas Return or the 1977th Diada. His first film during democracy was Companys, Procés to Catalunya (1979), on the execution of the president of The Generalitat Lluís Companys in 1939, played by Luis Iriondo. Forn also relaunched the activity of him as a producer, through the producer Els Films of L’Orient, who now directs the daughter of him Sandra. Among the most notable films of the producer are Ocaña, Retramat Intermitent (1978), from Ventura Pons, or a cos al Bosc (Joaquim Jordà, 1996), with Rossy de Palma by causing civil guard. As a director, Forn said goodbye to Colonel Macià (2006), on another president of the Generalitat, Francesc Macià (2006), and Somni Català (2015), a documentary in favor of Proctors. In 2001 he received the Creu de Sant Jordi and in 2010 Gaudí de Honor, which grants the Academy of Cinema Català.
