He had Mario Camus just a couple of years ago in encounters in El Escorial he had “with effort” a normal life.
“Because I’m alone,” he added.
Since he died of him, his life, he said, consisted of going out to look for the bread, read the newspapers and, at night, “see the cinema or sports”.
When in 2011, Goya of Honor granted him, it was difficult for him to talk about himself, he took refuge in what he considered his “sickly” shyness and the interviews were shaken from upstream, short and sharp phrases, convinced that in the
Cinema, the protagonist is nothing more than the cinema.
Nobody else.

On Saturday, the director of the Eternal ‘Los Santos Innocents died at 86 years, the Infatigable Chronicler of Spain as always, the best literary text adapter who has seen Spanish cinema and, hurrying, the most mate filmmaker in his desire
of invisibility.
He never signed a film in the style of the authors “a film of” but preferred the formula of proud craftsmen (directed by).
If he was asked about him, he answered that the only obsession of him was to disappear.
And there, in that gesture of lonely shyness he defined as anyone both a way of understanding cinema and the only possible way for a Cantabrian of Law to understand the same life.
Camus was a man against countercurrent.
Formed in the mythical official film school of Madrid and, consequently, precursor of the new Spanish cinema with people like Carlos Saura, Basilio Martín Patino or José Luis Borau, far from him the obstinacy for the firm.

His was a conceived cinematography, created, thought and executed at the height of his eyes, not pending not the story or history, but of the drama that lives between the bodies, in the holes.
And that was the case, in the most personal works that populated the 1990s and that they go from their first deep and wound readings of terrorism in ‘shadows in a battle’ (1993) and ‘the beach of the greyhounds’ (2002) up to its
More tortured works that also want to be a dark look of a time, ours, increasingly gray.
And here, ‘after sleep’ (1992), ‘attached’ (1996) or ‘the color of the clouds’ (1998).

But also that conscious and interested sole only in the depth of the other’s gaze is perfectly traceable in its eating work on the side, for example, Raphael.
She came to him after the failure of ‘with the Solano wind’.
They offered him to make a movie with a singer who did not know and his response was that “a singer or a bear”.
Three million people saw how a star was born.
And behind, in silence, a camus determined to disappear so that everything would acquire their right and even huge size.

Its ability to listen to the rhythm of words and transform them into images, became the official Spanish cinema adapter. Review the filmography of it, a class of literature such as attentive to the realism of Pérez Galdós and the Baroque imagery of Lorca is felt at times. So faithful to the rigor of zeal orfebre that aware of the first and lived prose of Ignacio Aldecoa. To Calderón and Lope we see it in ‘Legend of the Mayor of Zalamea’ (1972). The author of ‘Gran Sol’ guides the steps of ‘Young Sánchez’ (1964), of the aforementioned ‘with the Solano Wind’ (1967) and the Master of Mostagers’ The Baden-Baden Birds (1975). His ‘Fortunata and Jacinta’ for television was the first classic that the house screen was able before the series could everything. The version of Him of ‘La Casa de Bernarda Alba’ (1987) flees from Filigranas to focus on the wound. And the Nobel Prize was that coral reading of the post-war that serves the palimpsest of ‘La Colmena’ and who served him to succeed with gold bear and everything in the Berlinale.

And then it is ‘the innocent saints’.
Forever.
His had to be the 1984 gold palm in Cannes.
They say that Dirk Bogarde, then in the jury, fought everything that gave the peaceful elegance of him so that it was so.
In the end, the prize was for Alfredo Landa and Paco Rabal actors.
And for “nice milana”, it would be added.
Camus himself, little friend of the anecdotes always concentrated in the Mollar, told that on one occasion he coincided with the actor of Marras in a restaurant.
He spent a note through the waiter to thank him for his film defense.
The interpreter took his time, he became the clueless and only at the end he returned the gratitude.
The return note only included two words: “Pretty Milana”.

Paco, regulates, his four children with the girl, girl and Azariah became the look without folds of Camus in one of those black mirrors that rather than reflect the image, make it sleep.
‘The innocent saints’, the novel already unfailingly attached to the film, is undoubtedly the maximum expression of a cinema that is also a moral commitment, of a cinema that perfectly defines the sense of the office, of the defense and duty.
Few directors so transparent, so clear, as sickly another, so fully each of us.
D.E.P

The president of the Government, Pedro Sánchez, has regretted the death of the film director and scriptwriter Mario Camus in a publication on his Twitter account.

“Those who love the cinema and theater today we are in mourning, we marked two great of the culture, Alfonso Sastre and Mario Camus. From the seats we will continue enjoying its extraordinary work, my condolences to their relatives, friends and the world of the
Culture, “he said.

For his part, the Ministry of Culture has regretted the death and recalled that the Cantabrian filmmaker was awarded in 2011 with the Goya of Honor for his career.

This is so underlined by the Department of Miquel Iceta in a message on Twitter, a platform used by the Academy of Arts and the Cinematographic Sciences of Spain to pay tribute to those who defined as an “author of classics” of Spanish cinema, among which too
He cited ‘the days of the past’ or ‘that woman’.

The family of the film director Cantabrian Mario Camus will dismiss him in the “strictest intimacy” and does not plan to organize funeral or any other kind of act because he was “a very jealous man with his private life”.

This has been explained to EFE that was its editor, Jesus Herrán, who has moved on behalf of the families the “profound” gratitude to the Cantabrian Health Service and his palliative care unit for his attention to Camus.

Initially, it was raised to rent a tankers room and bring together people close to the family, as he did when his wife died two years ago, but finally it has been decided not to do it.
He will not even have a certainty, he has pointed