Few silences so catastrophic.
In addition to noisy.
Death on Monday of Verónica Forqué at 66, almost everything took place.
To her way, for showing the last name she looked and for being her work intimately linked to the recent history of the Spanish comedy, the disappearance of it reaches all;
The loss of it is a common defeat.
The voice of her between Quebrada and perfect form and part of the memory of anyone who in recent decades had been simply awake.
The last contact of her with that so strange that she is fame, it was almost tragic, by shrill and proclaim, by the hand of the ‘MasterChef’ program.
But with everything, there was also the dream character, vital and able to verbalize it absolutely everything without the lowest modest (“One of the advantages of making you greater is that you can afford to say what you want,” he liked to say in
The interviews) And, at the same time, could be contemplated, not without a click of that same puff, the extremely fragile person who was always.
“Sometimes I notice that the batteries are exhausted,” he said also on more than anything occasion to who would like to hear the detailed story of each of the depressions, insecurities and fears of him.
Perhaps there, in force to say everything and in the tremor to recognize each of his phobias and fears was his secret.
Verónica Forqué’s mood always sprang from the deep humanity of her, from a free sincerity.
She knew how to do what she said Chaplin that “To laugh you really, you have to be able to grab the pain and play with him.”
The characters of it were always profiled on the verge of a naivety very close to any abyss in which, probably, we were almost all.
If she wants, the shape of her from being crude and clean of artifices was both a way to ask for help.
She started at the very early cinema of her father’s hand, producer, director and even myth of Spanish cinema José María Forqué.
She soon she could see it in ‘my dear Miss’ (1971), by Jaime de Armianán.
The following roles of her more or less relevant from her, more or less hidden from her, were always in the shadow of her father’s surname.
‘A different partner’ (1974), ‘Madrid, Costa Fleming’ (1975), ‘The second power’ (1976) or ‘the singing of the cicada’ (1980) are all film in which the actress is profiling his ways
As recognizable at the same time that turns its voice into an more character trait.
The works of it with Antonio Mercero (‘The War of Papa’, 1977), with José Luis García Sánchez (‘Las Truchas’, 1977) and with Carlos Saura (‘Bandaged Eyes’, 1978) would be the last right stage before
What would come next?
Call consecration.
His role in ‘What have I done to deserve this?’ First, and then in ‘Matador’, the two works of Peter Almodóvar of 1984 and 1985, already converted it definitely into something more than just an actress.
Little by little, she claimed the icon character, of the best possible representation of a time of innocence that was also discovery.
We talked about the 80s, of the move and comedy as the most transgressing in the ways of facing what was starting.
Or ended up.
The role of crystal -Prostitute, neighbor and confessor of the glory performed by Maura – in the first of the films cited was the living image of irreverence, but always since the acceptance not exactly submissive of each of her weaknesses
.
Fragility was always the second surname of it.
When years later he received his fourth Goya Award for his work in ‘Kika’ (1993), always on the planet Almodóvar, for his slightly ragged body (like Charlot) had already spent all the comedy possible and necessary from the entire decade
.
It was on this tape where she listens to that replica with an appearance of cataclysm that so well defines it in the tremendous, the crazy and even in the delicately wild.
“You wondered that why the police did not call the bell,” she says to Ramón (Alex Casanova).
“Call, they called, but we could not open them because Juana was in the gagged kitchen on a chair and tied. And I was … rape, it’s been all very unpleasant, but it happened, so it’s best to forget it. These
Things happen every day and today I have touched me. ”
Nobody saved She could ever have said a text like this without the police appear again.
Until this simple and delicate burrado, Forqué had already worked with Fernando Trueba in ‘Be unfaithful and do not look with who’ (1985) and as a Falangist in love with ‘The Year of Lights’ (1986), film he obtained His first Goya as a cast actress. With the other Fernando, with Colomo, she would collaborate in ‘La Vida Alegre’ (1986) and ‘Go down to Moro’ (1988). And always queen of comedy, the cinema of her husband Manuel Iborra (‘the doll dancing’ or ‘the time of happiness’) would be as incomprehensible without her as perhaps that of Manuel Gómez Pereira himself (‘ Why do they call them love when they want to say sex? ‘). Yours is the free comedy and the language of the 80s and yours is the removable comedy, elegant and equal aspared of the 90. in parallel, yours was also the television of all with series like ‘Ramón y Cajal’ (1982), ‘The Garden of Venus’ (1983), ‘Broken Dishes’ (1988), ‘Eva and Adam, Matrimonial Agency’ (1990-1991) and, above all, in its revolutionary way ‘Pepa and Pepe’ (1995) Tito Valverde side. In the latter she was she with a clarity as fun as affectionate, as Veronica as forqué, as his own as shared by all the spectators.
He lamented that with age it was no longer so required.
That even though she between 2014 and 2015 she participated in the eighth season of ‘the one who is coming’, where she encouraged the secondary character of Teresa Sáenz de Tejada -Alcalde.
She said what she had to say regardless of the program, the emission time or audience.
She was not afraid to talk about what she liked and to skip about what she horrified him.
And always a clean body.
She able at the same time from the most obvious and even impudent of the nudes, and the most puddy of confessions.
Free and fragile.
Fragile as crystal and tremendously threatened as the character who gave Shelley Duvall life in Kubrick’s glow ‘and that she was in charge of bending Spanish.
“No one will hesitate to consider my ridiculous performances. Well, but the actions of men – even the most sublime- are ridiculous mere in the eyes of the gods,” said Chaplin and who knows if unwitting him thought about forqué.
