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CATALINA'S
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The
following decade of the sixties, in addition to Lola Flores, El Príncipe
Gitano and Antonio Molina, sees the
appearance of Rocío Jurado,
Peret, the bailaores and choreographers Rafael de Córdova and Antonio
Gades, among others. The number of folklórico-Flamenco
movies decreases, in comparison with the previous decade, under the perception
that the market had changed. The fundamental and important picture of this period
is Francisco Rovira Beleta’s Los
Tarantos (1963)
based on the work of Alfredo Mañas, Historia de los
Tarantos, the romantic and tragic story of two Gypsy
youths from rival families. The film was a major contribution to the art of
film-making, not only of baile but as a drama featuring Carmen Amaya, Sara
Lezana in the role of bride Juana La Zoronga, Antonio Gades as the 
friend of the groom and the voice of Chocolate. The film has been popular
ever since, having been nominated, at the time, for an Oscar Academy Award.
Rovira Beleta, then, directed a version of El amor brujo (1965)
,
with musical adaptation by Ernesto Halfter, and interpreted by Antonio Gades, La Polaca,
Rafael de Córdova, and a cameo role by Cristina Hoyos.
Interestingly, the credits identify Camarón
de la Isla, as playing the guitar in this movie, as well 
as Narciso Yepes.
Café de Chinitas
(1960)
,
directed by Gonzalo Delgrás, owed its success to the popularity of two major
artists, at that time, Antonio Molina
and Rafael Farina.
Also participated in this film the bailaora María Albaicín and
Niño Ricardo. The
same pair Molina-Farina made Puente de coplas (1961),
of Santos Alcocer, with the 
participation of Porrinas de Badajoz and
Ana Mariscal, with the guitarra of Niño Ricardo. Ana
Mariscal directed also certain films with an Andaluz backgroud, such as Feria
de Sevilla (1964), and Los duendes
de Andalucía (1964), with the
participation of La Paquera de Jerez, Porrinas de Badajoz, Ana la
Tomata, María
Rosa and the voices of la Niña de los Peines, Juanito Valderrama,
Argentina Coral and Dolores Vargas. Joaquín
Bollo Muro contracted the pair of Juanito Valderrama-Dolores Abril for
two consecutive
films: Gitana (1965), with the participation of El Güito,
and Barro y Oro (1966). Juanito and Dolores made also guest appearances
in another film, La niña del patio (1967), of Amando de Ossorio.
El
alma de la copla (1964) was brought to the screen in 1964 by Pío 
Ballesteros and,
I addition to the Príncipe Gitano, included Adelfa and Pepe
Soto, La Niña de La Puebla, Juan Varea, Jacinto Almadén and the recorded
voices of Antonio Chacón, La Sallago and Luquitas de Marchena.
Among the various films made by Juan Antonio Bardem were two with a minimum of
Flamenco: A las
cinco de la tarde (1960) with Jarrito,
and
Los
pianos mecánicos (1965) with María Albaicín.
J.M.Zabalza’s
El milagro del cante (1966)
featured El Príncipe Gitano
and Rafael Farina. Other films made in this period included: Jesús
Yagüe’s
Los Flamencos (1968)
with Jarrito, Fosforito, Juan Vargas, Enrique El Culata,
Adela Escudero, Terremoto and José Osuna; Los Celos y el el
duende (1967), of Silvio F. Balbuena included Porrinas, Jarrito,
Fosforito, Varea, Flor de 
Córdoba,
Carmen Rojas, Félix de Utrera and the cuadros flamencos of El Corral de
la Morería and
las Cuevas del Nemesio. Antonio Gades
appeared in Mario Camus’s Con el viento solano (1967)
with Imperio Argentina
and Vicente Escudero; and also in Ultimo encuentro (1966) directed
by Antonio Eceiza. Finally, we note a collaboration of María Rosa and Fosforito
in Valiente (1964) of Luis Marquina; and the documentaries Antonio
en la Cuevas de Nerja
(1963) of Fernando Pallarés and Manuel Gutiérrez Torrero;
and Llanto y Saeta en Sevilla
(1963)
of Julián de la Flor. Manolo Escobar also starred in a number of
movies : Ramón
Torrado’s Un Beso en el
Puerto (1965), Mi
Canción es Para Ti (1965) and
El Padre Manolo (1966).
The
most notable films of the Seventies include
Ley de Raza (1970),
directed by José Luis Gonzalvo and
featuring Antonio and La Chunga;
Lola Flores and Camarón de la Isla (in the only movie he made)
in Casa Flora (1972)
directed by Ramón Fernández, Juan
Orduña’s
Me Has Hecho Perder El
Juicio
(1973) with Manolo
Escobar,
José
L. Sáenz de Heredia’s
Cuando los Niños Vienen de Marsella
(1974)
also
with Manolo Escobar and Sara Lezana and
La Carmen (1975) of Julio Diamante which
also included Sara Lezana, Rafael
de Córdova, Enrique El Cojo, Enrique Morente, El Agujeta, Enrique de Melchor,
Pepe de Lucía and the Cuadro del Tablao Las Brujas. One
should also mention a documentary short Cantes de Málaga
(1974) directed
by Miguel Alcobendas and
Eduardo
Manzanos Brochero’s
Canciones
de
Nuestra Vida
(1975),
with
Imperio
Argentina, Carmen Amaya, Lola Flores, Marujita Díaz, La Polaca,
Antonio
Gades, Conchita Piquer, Carmen Sevilla, Sara
Montiel, Etc...
In the Eighties Carlos Saura directed three films with Antonio Gades:
Bodas de Sangre
(1981)
,
with
Cristina Hoyos, 
El Güito, José Mercé, Gómez de Jerez, Emilio de Diego and Antonio Solera;
Carmen
(1983)
with Cristina Hoyos, Laura del Sol, Paco de Lucía,
Gómez de Jerez, Manolo Sevilla and Antonio Solera. The
film won two awards at the Cannes Film Festival for Best Technical Quality and
Best Artistic Contribution; and
El amor brujo 
(1986)
,
also with Cristina
Hoyos, Laura del Sol and La Polaca, Enrique Ortega, Diego Pantoja
and Gómez de Jerez, songs interpreted by Rocío Jurado. Corre Gitano (1984), directed by Nicolás
Astirriaga,
with Mario Maya was released; as well as El balcón abierto (1984)
of Jaime Camino with José Mercé, Juan Habichuela and Ricardo El
Veneno.
The Nineties
In
the Nineties, Carlos Saura continues his exploration of Flamenco with the
release of two additional films: Sevillanas (1992) in which he
presents the variety of Sevillanas, De
Lebrija, Boleras, Clásicas, Rocieras, Gitanas, Actuales, A Dos Guitarras,
Corraleras with the participation of Manolo
SanLúcar, Paco De Lucia, Tomatito,
Rocío Jurado, Camarón, Lola Flores,
Manuel Pareja Obregón. Paco Toronjo, Merche Esmeralda, Manuella Carrasco, Los Romeros de la Puebla,
Salmarina, Las Corraleras de Lebrija, Matilde Coral, Rafael El Negro;
and Flamenco (1995) with most living artists represented: Paco De Lucía,
Manolo Sanlúcar, Enrique Morente, Joaquin
Cortes, José Menese, Lole y Manuel,
Mario Maya, José 
Mercé, Matilde Coral, Carmen
Linares, Merche Esmeralda,
Chocolate, Manuela Carrasco, Farruco, Fernanda De Utrera, La Paquera De Jerez,
Manzanita, Ketama, Agujeta, Manuel Moneo, Paco Toronjo, Aurora Vargas, Remedios
Amaya, Juana La Del Revuelo, La Macanita, Chano Lobato, Rancapino, Tomatito, Potito, Duquende, Belen Maya, El
Grillo. , the new version
of Los
Tarantos directed by Vicente Escriva. Tony Gatlif's
Latcho Drom
(1993) and Jana Bokova's Un Viaje Andaluz
(1993)
brought on additional images and sounds of
Flamenco, along with some recent
movies such as La Teta y la Luna (1994)
by J.J. Bigas Luna (featuring Miguel Poveda), Chus Gutiérrez 
Alma Gitana
(1996), Mike
Figgis's Flamenco Women (1996)
(starring the bailaoras, Eva Yerbabuena and Sara Baras)
and Dominique Abel's Agujetas Cantaor
(1999). Television programs added
further to our understanding of Flamenco with such programs as Ríto y Geografía
del Cante (1970's), Ríto y Geografía del
toque (1970's),
Ríto y Geografía
del baile (1970's),
Caminos Flamencos (1988), Años de Flamenco, Arte y Artistas
Flamencos, La Buena Musica (1987-1988), El Angel,
Abanico, Flamenco Ayer
y hoy, Jondo,
etc. and still continuing today with the recent availability of Alfonso Eduardo
Perez Orozco's video series Flamenco hoy.
The First Decade of the New Millenium
The
year 2000 brought Antonio Canales in Tony Gatlif's Vengo
(2000)
closing the Venice Film Festival
on September 9th (with a release on October 4th in France and October
6th in Spain) . Other artists in Vengo
include Tomatito, La Caita , La Paquera de Jérez, Sheikh Ahmad El Tuni
.Vengo was honored at the
French César Movie Awards on the 24th of February,
2001. Tomatito
and La
Caita
, together with Tony Gatlif and
Sheikh Ahmad Al Tuni, received the César Award for Music.
In the year 2000 appeared Fugitivas (2000) by Miguel Hermoso in which Niña Pastori and some other flamencos appears, as well as En Nombre del Padre (2000) by Dominique Abel starring the bailaor, Manolete, and the cantaora, Marina Heredia.The film was renamed Springtime in Granada. Click here to see a 3 min clip of the production.
Joaquín Cortés's film career also saw its debut in September, in Manuel Palacios's Gitano (2000) with French Supermodel Laetitia Casta. Azúcar Moreno, Antonio Carmona, Montse Cortés, Rosario Flores, Juan y Pepe Habichuela, Navajita Plateá y Tomatito, among other Gitano artists, also appear in the movie.
And Carlos Saura is returning to Flamenco with the planned release in November 2002 of his latest Salomé with Aída Gómez. Salomé was shown on August 22, 2002 at the Montréal Film Festival and won the Award for Best Artistic Contribution.
In Summary
The wealth of information contained in a visual presentation of Flamenco is unsurpassed, whether it is for learning or entertainment. Artists are seen through different phases of their career in a variety of environments. It is the next best thing to being “there”, at times an impossibility in any case, since one is observing past performances, and, sometimes, of artists that are no longer with us. A truly very unique experience. Here are some examples:
Baile: Antonio Canales, Antonio Gades, Antonio Ruiz, Belén Maya, Carmelilla Montoya, Carmen Amaya, Cristina Hoyos, El Grilo, El Guito, El Mistela, Eva Leiva, Farruca, Farruco, Inmaculada Aguilar, Isabel Bayón, Javier Bar6n, Javier Latorre, Joaquin Cortes, Juan Ramírez, LaTati, Laura del Sol, Manuela Carrasco, Manuela Vargas, Maria del Mar Berlanga, Maria Pages, Maricarmen Corpas, Mario Maya, Mariquilla, Matilde Coral, Meme Reina, Merche Esmeralda, Milagros Mengibar, Paco Romero, Pepa Montes, Pepe Moreno, Pepito Vargas, Pilar López , Vicente Escudero, Yolanda Heredia and others...
Cante: Agujeta, Ana Reverte,
Andorrano,
Antonio Mairena, Aurora Vargas, Beni de Cádiz , Bernarda de Utrera
Barullo, Boquerón, Calixto Sánchez, Camarón de la Isla, Carmen
Linares, Carmen Montoya, Chano Lobato, Chocolate, Curro de Utrera,
Curro Fernandez, Diego Carrasco, Duquende, El Cabrero, El Chaquetón, El
Funi, El Lebrijano, El Pele, El Perrate, El Torta, Emilia Jandro, Enrique
Montoya, Enrique Morente, Enrique Orozco, Felipe Scapachini, Fernanda de Utrera,
Fosforito, José de la Tomasa, José Menese, José Mercé , José Soto,
Joselero, Juan Reina, Juan Valderrama, Juan Vargas, Juan Villar, Juana
Fernandez, Juana La del Revuelo, Ketama, La Caíta, La Macanita, La Paquera de
Jerez, La Perrata, La Piriñaca, Lole Montoya, Luis Heredia "El
Polaco", Manolo Caracol, Manuel Soto Sordera, Manzanita, María Soleá,
Moneo, Nano de Jerez, Naranjito de Triana, Nene de Granada, Paco Taranto, Paco
Toronjo, PATA NEGRA, Pepa de Utrera, Pepe de Lucía, Pepe el de la Matrona,
Pericón de Cádiz, Perla de Cádiz, Potito, Rafael Romero, Rancapino, Remedios
Amaya, Salmarina, Talegón, Terremoto de Jerez, Tina Pavón, Vicente Soto and
others...
Guitarra: Diego del Gastor,
El Bola, Enrique de Melchor, Gerardo Núñez, Isidro SanLúcar, Joaquin Amador,
José Antonio Rodriguez, José Carmona Habichuela, José Luis Postigo, José
Luis Rodriguez, José Miguel Carmona, Josele, Juan del Gastor, Juan Habichuela,
Juan José Carmona, Juan Manuel Cañizares, Luis Habichuela,
Manolo Brenes, Manolo Franco, Manolo SanLúcar, Manuel Morao, Mario Escudero,
Melchor de Marchena, Miguel Ochando, Montoyita, Moraíto Chico, Niño de Pura,
Niño Jero, Paco Cepero, Paco Cortes, Paco de Antequera, Paco de Lucia , Paco
Del Gastor, Paquito Serrano, Parilla de Jerez, Pedro Bacán, Pedro Pena, Pedro
Sierra, Pepe Habichuela, Perico El del Lunar, Quique Paredes, Rafael Amador,
Rafael Riqueni, Raimundo Amador, Ramón de
Algeciras, Sabicas, Tomatito, Vicente Amigo and others..
Acknowledgement: Parts of the the above presentation are based on a translation from the now out-of print Diccionario Illustrado del Flamenco.
(Note: Click on selected pictures above in order to see photos from selected movies)
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