“Give the comedies Treatment of hieroglyphics». The phrase rests alone, would be said that abandoned, on a notebook. And the notebook is hidden in a drawer. And the drawer, like the gadgets of the magicians, hidden in his belly a double background. And in the background there is room. Always travel somewhere, the melancholic and hypnotic documentary (or something similar) from Helena de Llanos who premieres tomorrow, is basically a discovery; or an enigma; or, much better maybe, a Mysterious and happy place in which the granddaughter of Fernando Fernán Gómez, despite not showing his surname, as from Emma Cohen, although he does not take his blood, crumbles something more than just his most intimate memory. Suddenly, it is in sight the darkest and unknown part of a creator who was presumed to know almost everything and, in the same way, it is discovered in an act of justice, which is also of restitution, the full world of a creator of which is finally known Something. There are reasons to want to know more about the first as a repent Luck not to know more about the second.
The film stops at the house that Fernando Fernán Gómez and Emma Cohen lived since in the 90s, they decided to leave Madrid to move to the outskirts, to algete to be precise.
“They turned the casherón into their castle.
Each one had his study and here they dedicated themselves to devising plans, writing and sharing loneliness, “says Helena on the porch of the house just before lending to a guide for the spaces not necessarily ordered from the fortress that are also the
unopened drawers from the movie itself;
Hieroglyphics with comedy soul.
The first thing that catches attention appears in the documentary well in sight. Fernando Fernán Gómez left half and date from 2006 (one year before dying) a “kind of novel” of futuristic air. Its title: millionaire without money. It is a manuscript divided into three parts. Pope Dick Guiñol is the first; High comedy or the referee, the second, and concludes with Medea Night Club. In the frontispiece of the text, it is read: “The Government Idea a kind of order that allows it to intervene without the need for people to have violated the laws of coexistence”. And follows: “The future is not in our hands but in the hands of those who have seized the future of all of us.” Not far rests elegantly and prepared for the photo of rigor a notebook that alternates the script with the drawings of what would be filmed. It’s not exactly what is called Storyboard. It’s something more. More care, funniest, less functional. We are likely to probably the handwritten and unpublished notes of what Emma Cohen used in the series filming from which was Mary’s Director at night. “The really surprising thing is that anything you see is treated with the mime from which a creator is only capable or a creator in the most rigorous sense of the word. I am sure that they put both so careful in the drawing and in Scripture, and of course, in the interpretation, “Razona de Llanos as the executor that is without leaving a single second of being granddaughter, accomplice and even friend of the two.
To situate, when Helena was born (who is the daughter of Helena Fernán Gómez, also an actress and daughter in turn of the actor of almost two hundred films and singer María Dolores Pradera), Fernán Gómez and Cohen were almost a couple
.
Granddaughter is, therefore, of the two.
The two who met, according to the yellow time, disguised as a man and an ancient woman.
He, left her written, was under an oak with a yogurt and a banana on the table.
She, according to him, “wanted to change the world, she wanted to be free, she wanted to write.
She was alone and she did not want to be alone ».
Again, it is comedy and is hieroglyphic.
“The two were influenced by one in the other.
And it is relatively easy to trace Emma’s libertarian world in Fernando, and the acidic and skeptical irony of him in hers, “reflects from Llanos.
And so it is.
Juan Soldado, the rogue or the irresistible by daring and proclaim Witch more than witch!
(“A rural zarzuela against machismo”) are films that, more inclined to each other, share authorship, genius and vision of the world.
They are from him and her.
Of Llanos has not been so categorized as eighteen, that Agnès Varda would say. “I have ordered more than 600 folders where own scripts are combined that did not come to a good port, photos from here and from there for those who parade the entire history of Spanish cinema or libraries received, studied and then left without further. Not one or another were especially careful, but they did not throw anything either. Let’s say they were so focused on their work and in the need not to stop creating that they did not care about what they left behind, “Razona the granddaughter. On the table, the script perfectly at the point of the Puerta del Sol, which before was novel. And next door, the Storyboards traced with MIMO. Not far, the treatment of Marta and María, the novel by Armando Palacio Valdés who even became a series of drawings with Manley waxes. And, in the end, the most surprising thing: careful and exaggerated watercolors seven thousand days together, the film that filmed in 1994. Fernán Gómez was, it was already known, novelist, dramatist, filmmaker, essayist, memorialist and, now we know, cartoonist At expressionist at times for favista and always fernandist moments. One moment. And what about collages like pops signed by Emma Cohen? “Emma said that 40% of her projects were never going to be done,” recalls the director of travel somewhere. And, in fact, on the rugged surface of the house it would be said that everything is there: in sight and perfectly hidden. A tragedy that is also comedy, a transparent hieroglyph.
The film plays fiction with memory.
Fernando and Emma appear and talk to Helena.
The three ended up being the same person.
And everything that surrounds them we are simply us.
We have arrived.
Hieroglyph resolved.
