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Cinéma & Cie. Film and Media Studies Journal
Lucia Bosé: A Star Across Borders
Text.Serial.Journal
https://riviste.unimi.it/index.php/cinemaetcie
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New Studies
2005-10-01
2023-09-21
2005-10-01
2024-02-14
Cinéma & Cie
Valeria Camporesi
2005/10/01
Universidad Autonoma de Madrid
2036-461X
7
en
Lucia Bosé: A Star Across Borders
https://riviste.unimi.it/index.php/cinemaetcie/article/download/21129/18757
5
LUCIA BOSÉ. A STAR ACROSS BORDERS:
Weoria Camporesi,              Usiversidad Autonoma
                                                do Madrid




   da parchfranquismo. la caspaylaincultata. Mucia Fore Ai: r.:
  sofisticada, la mós modoma. la mas caronca v luce». le: s: 51-
 Miguck Dominguin. fuc la cncamain del mal pla lutaria parti



 While far from having rinduced a stable More pt kisto:
  regarded as indisputable that the cultural phoromenon o ti
peculiarly intriguing significance. "Stars. " Robert Alla an! D).
                                                              mainin:
1985, "are complex images which contain multiple
whichisintrinsictotheircocialcsistonco.aw.Allen.an.dCide
and is organized as a structured multi lagered spotem. sul
hopcfully, deciphered, 3to the joy and thrill wi film. an.d
therefore at the cross roads of divers. socially si;ni
                            segarded
embody what could he           as figment, di the di
 With that guiding ides, the follow ing e dy cade
myth of Lucia Bose, who:e polemic carcer it
tional transition within different luropean count
 American identity. As the winner ofthe sos7 Miss taliscon
to stardons in Italy in the early 19 sos through the wughs oft
c'e pace tra gli ulivi, 1950, her first frature film; Aus
Antonioni (Cronscadiunamore. 10s0: la sinora senso               come tira) tiri.
(Parigi e sempre Parigi saga: le ragazze di piazza di s(9402, 1933). 201812:10
l'amor che mi rovina, sost), making her appearance in rather popolar quali:
Recruited by Spanish Communist filmmaker Juan .Antonio Dardem. co Jetin .!:
un ciclista (1955), she would later work between Spain, Esance and Italy, after the int
rugtion of a marriage, which coincided with her temporary setread from the se
with bullfighting star Luis Miguel Dominguin (hoth the marride and the assens
came to an end in s967). It is therefore possible do read her carcer as the resa dia g
gressive scquisition of transnational traits, through che mediation of a crucia!, re
sional and personal, experience in Spain.
  As far as that process is concerned. shar could de considered in tudia leiceste
as a   rublicimaco.   is a Euroncan (Southern Euroncan) version di modernita ma

122                                                                 CREMA St
                       in god a
                              .. man.
                            •shed her
                                                                      he interared     in

         De:02904 by         1230 Contese     :n 1459 la: his last icature film. de
                        maelsitancatthe
                                   doop senion de bares cable image.
                                            ¡siandina rounte are sharan
             quais death. The are arranged astheatre specta:on in a hal
                    Bee are seated in the foreground, and Luis Miguel
                       in besband         and panner, respectively, are standing
                        elises      nothing in it scems casual .Isfar as lucia Pose is
                   -evially revealing. On one hand, the proximity to Picaro
             able arrive)             emrhasizes the gravity of her expression, and her
   ver               embialimeni of a determined soul on    the other. her headicari
 Suibern Euronean.         culture, which she seems proud to represent.
midi declared, all celebrities who ap peared in de Testament d'Orphie.
sees bus as incessolhis.   devertheless, or. mashe                   consisicati with
          ancous     image be           builds up of Lucia Bose is erocative     and, pos

                                                                                     343
fast Antonio lardon, donates       amalader.

  «ible, accurate: a portrait of serach independent
 decide where the stands in selations do male dud
 shoe body sonifies a modernity beyond time at
 sic andintellectual queries. The ultimate sum or thi
 and under what circumstancs, that cultural image was Write                   are 193 3519:
 irelliothesisualandculturalpanoramoodtranco'ssorin.
    With that object in mind, the following pages will dens op a schematic appah to
    short fragment of lucia Bose's life as a star, coverine basicall the diss tendiseasic
 her corses, up to the late sagos, but with a greater emphasis on be? Spanish alms. The
 hypothesis that it is in those vears that her life as a film star reveals the complexititi
 of female modernity in Southern Eurore. The sources to illustrate this harothes: de
 the film teat, integrated with references to popular press.


 Crem aco di un crore and Muerte de un cielisto. Coming to Terms                    dA:
                                                                            with Upper
Class Culture, Social Values and Emotions

   liluda    Mine's cinema debugs was asa shepherd lain don do pacetra chali.a:
 if he   Santis would later insist in characterizing her go an underprivileed girl in Bed
                                                          LUCIA BOSE. A STAR ACFOSS CORDERS


ore 11. the Italian actress's most enduring image is associated almost from the ourse!
with sncial and or cultural sophistication, and with the psychological and moral crises
which seem to go with it. It is quite remarkable that contemporary revicwers were
unanimously puzzled by her first appearance on the screen as a peasant in Non c° pace
era cli ulive: "Mer sensitivity does not fit the role of a primitive and violent woman " it
was remarked.? Indced, her characterization as such by director De Santis was widely
interpreted as a sort of contrasting use of her outstanding attributes and potential
rançe.®
  it is no surprise thercfore that in her next film. her character would he quite different.
much more consistent with her public image. and her heauty would he clearly part of a
complex personality. Cronaca di un amore. her first film with Antonioni and her sec.
and important role, establishes Bosc firmly in a bourgenis charaster. in a modern urban
milicu, well dressed in expensive fashionable clothes, which emphasize her modern
figure. far from any primitivism. As could he expected from antonioni, though, the
films view of its characters is not mercly sociological. while accurate and crucial for the
correct understanding of the film, social circumstances only repicient a starting point
for a much deeper, psychological analysis.
   Far from any kind of social realism, Cronaca di un amore relates    "a journey meant to
highlight the prismatic and illusionistic games between being and appearing."
Therefore, it was essential to depict accurately every character. an I gie them a mark of
authenticity. Paola Molon, the character played by Lucia Bose. perfoirs a contral role in
therepresentation ofthe essence/apparance game. Antonioni adoramonaliticalsore,
and no simple shot in which Bose appears suggests any kind of final agersial. The way
in which she is represented in the dramatic conversation which is tak ing rise between
her and her former lover. Guido, in the first part of the film. when she cadres that her
past is being investigated, is, in this respect, quite illuminating. Coatca stin: with her
uninspired attitude in the preceding scene. when she is shown anon: her house cois
friends, in this sequence Borg abandons hesself to an impulse of war hu manity, shich
the decolation inspired by the cold setting, the kruscal in Wilan. emphasizes. Through
her eyes. the emotional impetus is scen as a desperato. blind, childish struzale againit
the hypocrisy of her life as the wife of a rich and powertul industrialist.
  The intensity which Antonioni gave her was so strong that sorting to our hypoth
cis. it would later become a permanent feature in Boss's roles. The firmness, or the
integrity. or the rigour, as it has been variously described, with which her characters
would strive, as Paola Molon does in Cronaca di un amora, to be consisient with their
feclings, can somehow be considered an enduring trait of Bosé's image as a star.
  indeed, as soon as Cronaca di un amore began its commercial cascer, it became clear
that a now star was born, who was going to establish herself in the lalian cinema firma
ment, beside Silvana Mangano, Sophia Loren and Gins Iollobrigida. Indeed, Bose's
entrance into stardom coincides in time, space and purpose with an ungoing. no matter
how self conscious, attempt at building up "alternative star systems in Europe. It can be
no coincidence that her first film had been with director Giuseppe De Santis, who is con
sidered, along with Alberto Lattuads, a particularly sensitive director in discoscring tal
ented beauties who could differentiate themselves from their Hollywood counterparts
  Significantly cnough, though, while Mangano was compared with. for instance. Rita
Massorth or lane Russell, Lucia Bose was (and still is) associated with Louise Books.
probably "the most significant example." as the Malian film historian Gian Vicro
                                                                                        965
                                         EXCLUSIVA



                                         PRIMERA
                                         ENTREVISTA CON

                                         LUCIA BOSE
                          r              ACTRIZ      II EPOCA




    "EMPEZAR ES DURO, PERO REGRE
        SAR ES MAS DIFICIL TODAVIA"




.Ininteriswin di   8139 (Jorile gurisl
                                                         LUCIA SOSE.   A STAS ACROSS




Nocturno so (lose lombella, gets).


Brunetta puts it, "of an aspiration to intellectual actino " sinco the care fittico, then.
Bosé occupied "an intermediate cone where the specitic prudessi sudhira de the film
actor receives recognition," and her impressive phasical aparnivai ordinal.
framed within an appreciation of her characters' artistic or intellectual value.
  Nevertheless. the solid determination which seemed to go with it could be interpret
ed in different ways. five years after on a drum adore amen tuna Antonio Barder
asked her to interpret a similar charades with supposelly similar problem is the cash
firmness in asserting her feelings evident in her first cinematic appearances, was in fact
turned into a remorseless egoism. In Cronda di un amore, Paola Moon sets forth an
ingenuous attempt to go back to her first love, so strong that it can bring her character
to plan to kill her husband, but at the same time relentlessly true to her emotions. In
 Antonioni's films, "homicide, disappearance are elements which unity the main char
 acters' loneliness; they cement their sentimental alliance."st In alfuerte de un ciclist.
Maria Jose/Lucia Bosé is selfish, irresponsible, weary of sincere feelings, not only inca
pable of fighting against hypoeritical social conventions, but ready to use them to pre
sercher social power in the face of the sufferings of the underprivileged people si She
is onis superficially interested in her lover, and is unable to feel authentic emotions.
Bardems film does not explore. it asserts. Characters serve a strong political message.
and no other soom is left for a more private dimension.

                                                                                        167
                                                            LUCIA COSt. A S:43 ACCESS CBSDERS

           jant
  The             aratitinn hetucon the two main characters, Juan/Alberto Closas, and Maria
    fic.hedia Bore is cicar. with social responsibility established as the dividing lins
     icicen the two. Juan, while decply corrupted by his social role, is still capable of lis
rainato hisconscience, and is depicted as shocked by his own moral fecbleness, when
 he does mint force his lover to rescue a cyclist whom she had knocked down. Besides, this
   discovery seis forth a painful crisis which is leading him to a "regeneracion". On the
 contrar. Maria losc. is represented as a monolithic character, sho doss not change all
 through the dramatic story, and is shown ds uniquely and obsessively intent on pre.
 venting anyone from discovcring her crime. in order to avoid not only a possible pun
 ishment. hut aka her exclusion from her social sphere.« So. within "one of the most
 cmblematic political films of Spanish film history," Lucia Bose is made the "bad girl"
 character.'S and her firmness is sharply dissociated from emotional integrity, and
 linked to its opposite. injustice and emptiness of the hourgenisie. which she represents.


 Afterwards. Leaving Bchind Mucrte de un ciclisto and the "Balfighter"

   To what extent Mucrie de un ciclista would chanse her image as a star in Saain was
 not to he scen for a decadc. As soon as the film shooting ended. in Worst doss. lucia
 Bosé marricd luis Migucl Dominguin in Boulder City. Nevada. Shortly attenaridi. she
 became pregnant. After her marriase, and before her fiest son's birt. so worked in duo
 more films, Gli chandati, dirccted by Francesco Maselli. in Italy. which could be inter.
 riced as a return to the image le Santis had created from her. and dels sprelle law
 rore. a French Italian coproduction directed by luis Buñuc as dimal in France.
 where her character has been described as an   example
                                           "feminine interrito"s of and
 then disappeared from the erecas.
   Indeed, she had hardly reached the sereen at all in Spain  before
                                                          her wadi ng. When
  Muertedeunciclistswastelessed.in September.soss.shewasstilll argerunknown.as
 an actress in ber husband's country, and her celebrity did not have much to do with her
 professional activities. "Latest actuality has brought the talian film artist lucia Bose to
 rothe forefront. " an article in the popular Cine munduannounced in March soss. relat
  ingthe news of her recent wedding with Dominguin; and it continued, "although it is
  hard to believe 1..we know very little of her cinema career, since only two of her per.
  formances have been seen here."?? No statement would he more definite: in Spain, in the
  mid sosos. Lucia Bose acquired her status of popular star as the wife of the bullfighter.
  Six months later. Auerie de un ciclists established the features of her film character.
  but only very briefly.? it is significant that she did not play an important role in the
  launching of the film. as reported in the popular press.?
    Apart from her silent apparition in le Testament d'Orphee, cited above, she would
  come back only in the late s96os. accompanied by the noise of her separation from
  Dominguin, and the enforcement of the harsh laws which dictated the fase of women
  shoreparated from their husbands in Franco's Spain. Negative eclings against her sep
  aration must have been very strong. if still a year after her seturn to professional life.
  she waseeported as saying: "I hate journalists. If I could kill them I would (..IT had had
  cough: we parted and there is nothing to talk about. But they go back to the same
  toric. over and over again."$ Then, between 1968 and rode, she appeared in five films.
  four of them shot in Spain, one in Italy. A short description of them will demonstrate
 VALERIA CAMPORESI



 how little her social image had changed since Cronaca di un amore, and, at the same
 time, how perfcctly it could fit into dramatically changed cultural circumstances, wit
 in and without the cinema world. Bardem's interpretation stands, in this regard, as a
 particular reading of the same factors. Maria Jos/Lucia Bosé is the product of a strong
 will to control the narrative and avoid nuances, on the part of its director, out it egoa!
  ly reveals the difficulty implied in coming to terms with changing feminine patters c
 bchaviour which did not fit, in the carly rosos, into established leftist approa
 in the late 1gbos the cultural contest had changed, rather radically. in spite of the
 coist regime's cffort at containing modern habits and values. Now, orca in caito:
 strongly conservative countries, a film character did not riced to kill her husband
 fight for her identity, and preserve her emotional and intellectual authenticity lat
 directors, possibly identified with a critique of the political and sosial circumstances c
 the society they lived in, might be interested in exploring alternative way softising see
 timental and domestic crisis. This is the cultural space in which some ronmis males
 a different attitude to the fcatures peculiar to Lucia Bose's image integricy. fight:
 authenticity, a modern, untraditional, attractive look.
   Bose's "first contact with cinema after thirteen years"'S is in an uncoro
 ect, strongly stressed within its historical context as a "modern" initial
 cant that Pere Portbella, one of the great innovators of Spanish cinema in
 been thinking about a film with Lucia Bose for quite a long time a%
 ally chose her for his first (cature film. In Vocturno 29 (Sere Forthella.
 ly designed, experimental film of the "Escuela de Barcelona". is wha
 cance as a star can best be scen. What is made immediately clear is that desciss:
  ly established in the cinema firmament. During the shootins. decode.                 03007: 0°
 film fan magazine, announced: l'ortbella's now film. "is going to be a safe        success less
 Bosé is a guarantce. An absolute guarantee. notonly in Spain. butaloismos:               Euro-eas
 countries. 28 Not only she is still a certain attraction. but she is also exposted to fun:
 tion exactly in the same way, with her strong European image, which isanother wasci
 saying. beyond Spain but firmly on this side of the Atlantic.
    Besides, insofar as her character's function within the film is concerned, the same line
 of continuity can be observed, perhaps with the only considerable difference of a moch
 better definition, a superior clarity, as if the time was a ripe for revealing all dose's
 potential. In spite of the film's adoption of a complex narrative form. where no clear
 action can be detected, her character does play a crucial role in the definition of the
 film's meaning. Indeed, as she undergoes a recognizable evolution, it is that process
 which marks the succession of shots. This interpretation is supported by the strong
 characterization of Bose's role as defined by the misc en stenc. Step by step, the specta
 tors discover that she is a socially established wealthy lady, that her lover is a business
 man, and that they are experiencing a crisis. Both of them are shown as engaged in an
 interior journey trying to understand their intended direction. All through the film. up
 to the second to last sequence, she is consistently associated with straight lines
 modern, minimalist sets and dresses. It is quite significant that Portbella would declare.
before the shooting: "I will certainly use to a great extent her personal wardrobe
because her clothes, quite timeless, fits the character."so This particular is highly si
nificant, as confirmed in a revealing conversation between Bose and Gabriel F
(her fictional husband) taking place just before the final scquences. Afte
allusions to the being/appearing conflict, she states: "I do not know whether it is m
150
                                                            LUCIA BOSÉ. A STAR ACROSS BORDERS



this person standing here in these clothes."31 Almost immediately afterwards, she is
   shown in a cloth shop, looking at fabrics with striking colours and pop drawings. At the
end ofthe sequence the allusion is made more explicit, when she is shown while look.
ing at fahrics which carry the drawings of different national flags, a prelude to an even-
tual escape. which scems confirmed by the following images. showing an airport and
takc offs.
  Her enigmatic presence, under the unprecedented guise of a nun, in do somos de
picdra (Manuel Summers, 1969), docs not seem to add much to the recovered image of
Rosé as analysed until now. Her character appears to be not much more than an allusion
to a more modern world which would he capable of dealing differently. in a more
maturc fashion, with sex and its implications. The friction between her image and what
nuns are supposed to symbolize is rather inspiring. That very contradiction might be
read as a probably involuntary allusion to the ultimate consequenses of a cinemato
graphic progressive definition of an cducated, urban. Furopean woman striving to
transform herself without getting lost, and which is shown as trapped in an unchange
able world.
   After a short appearance in a sequence of the Fellini's Satyricon (age y). she was
required by Basilio Martin Patino for a film where all the stereotypes associated with
her are once more put to work. Del amor y otras soledades (rosy) deals with a higher
middle class couple passing through a deep crisis due to a prolonged lack of communi
cation and a growing, but also somchow momentary, distance arisen between husband
and wife. The film's opening sequence marks the central sole played by her character:
asshe is shown seated in the office of a (woman) psychologist. ani she is talking bout
the opportunity to put an end to her marriage. Then we discover that she lives a borr
geois life in a rather luxurious house, that her husband is quite argressive to her and
she does not show any interest in him, but that it was not always like that. "I remem
ber." she tells the psychologist, "that I used to feel comfortable with him: his leadership.
his ideas. He was very intelligent, at least then, more intelligent than I was, of course.
 but we had something in common, he would tell me his problems, we shared them."!?
    Although the film is not completely coherent in its narrative structure, in the follow
 ing sequences we are shown how Lucia is being increasingly drawn away from the more
 traditional milieu which her husband works in, and towards some sort of modernity.
 and cultural openness. Through clothes (she normally wears very simple and elegant
 black, white or black and white clothes) and personal possessions,3 she is associated
 with a sophisticated sensibility (she is a craftswoman). As an indication of her charac
 ter is the decoration of her house, described by a rather old fashioned, extremely rich
 couple (he is the owner of the firm where Bose's husband works), as "very modern". Yet.
  this docs not imply any drastic or radical conflict which could threaten her emotional
  balance. She does not seem to be interested in establishing a new morality. but only a
  new way to face life, which, according to her, will flow spontancously from a fight for
      dignity and authenticity. It does not really matter whether she will eventually leave her
  husband for good, or not. It is the questions she poses, her relentless effort to be true to
  herself. which occupy the centre of the action: indeed, her very commitment to truth
  might imply that she should stay with her husband as he is part of her life. Whatever
  the ultimate choice. it does not really matter. It is the process, and not its result, which
  is at stakc. And. what is really more relevant within these pages, at the heart of that
  search Lucia Bose stands firmly true to her image as a star, perhaps less explicitly than
                                                                                          951
LUCIA BOSÉ




Troni conce vi Nic   in in 2003



152
  MAILEA CAMPORESI



matico,* as shic herself describes it, was intensified. it might be inte
that it prompted her to work more often, and more successtully, in Italy and Fran
in Spain. So other Spanish film which would include her
able social visibility: while in Italy she would work with Mauro
  Rosi, and Terran Orpetck,43 and in France with Daniel Schmid and fangs!
 Somchow: she disappcars as a significant symbol from the public sphere in Seas
 all the complexitics which Patino, and his work in documentaries, would as;
 carly 197os, it is nevertheless shocking that seven years after Del amor y ora;
 when democracy was beginning its uncertain existence. he could talk abe,
 without even mentioning lucia Bose.& Political issues were capturing it
 the direciors and creative people who had hen interested in the incord:
 of her star image. Apart from minor reappropriations orchestrated by see
 marginal direciors, such as Almodovar, who re used her do a nan in
 (Pedro Almodovar, 1983), or Agustin Villaronga, in El miro de la lunali;?
 only come back in a main role on Spanish screens as a witnes: of Ear
 recently published authorized biography does not constitute a signi
 this regard, and, one might add, serves as a confirmation of an absence
 the quote at the beginning of this essay states, her mythical meanings i
 another time within Spain, or to different places at the same time. She
 charming, elegant, beautiful and intriguing, still Francoism had co
 perdition, and democracy has not been too interested in rescuing.
 transnational story as a star would then lead one to think that the mia:
 with her could only partially work as undercurrent. unifyin: Southern
 and in this respect, crossing the Pyrences did mark a change. in the dies
 rigidity, and a minor degree of complexity.


 • This article is partof a collective research project financed by the Said do stacle.
      and Technology whose title is "Cultura visual: la construsion de la res cuela de la distia
      contemporánes" (BIIA 2001 0219: main rescarchier: lesusa Vera).
? "In fact. iffhink sbout it carefully. I do not know why did nod believe in Lucid's gods
      She isthe daughter ofa worker and grandchild of a farmer, but she holdsthe          natural
                                                                                               dear
      and the refinement of a fairy tale princess. Sine toss. when she established bosein&p
    in a provincial, autarchic socicty, suffocated by francoism, dandruft an A locd of cutere. Loved
    Bose has been our crown jewel, the most modern, the most Eurupean, and, sternards are
    her separation from bullfighter Luis Miguel Dominguin, she was the embodiment of evilard
    lust for the conformists, a terribly attractive symbol of perdicion", Rosa Montero, "Loa Bise.
    una seductora original. "El l'ais Semanal. no. s379 (March :, :00 g). p. 12.
 3 Robert C. Allen, Douglas Gomery, File History. Theorg and Practice (New York, No Gran
    Hill, 1985). where classic analyses of film stars such as Morin's and Dyer's are seferred to
g As Gundle suggests, the "Europeization" of film stars is hardy an exception afer the cade?
    the Second World War. See Stephen Gundle, "Il divismo nel cinema curuçco, set; co. in
      Gian liero Brunetta (ed.), Storia del cinema mondiale, Vol. I, LEuropa. Siti loshi in
      (Turino, linaudi. 1999). pp. 753.786.
      W'har is interesting about Lucia Bose is the fact that she lises throu
      in this ruses, analysed as a new star system. "made up of anti din ho walk. dalk and mit
      Mike ordinary pcople."(-ll nuovo divismo sara fatto Ji anti diviche camarinanoumela poi

955
                                                               LUCIA BOSE. A STAR ACROSS BORDERS


¿a Ter.úmeno de sobricdad, clegancia y, notablemente, de espíritu joven." U.Z., "La nueva ctapa
   de lucía Posé. Nucros fotogramas (December 33, 1978).
   Ir is quite remarkable that this is still protty much the same image, almost the same words
   which Rosa Montero uses in the very recent intervicw gunted as the opening paragraph of
   this essay. What is new, and it can hardly be a surprise, is the appropriation of her as a sym.
   bol of s hat Franco hadtricd to suffocate: values which until 199s had to be kopt implicit. con
   nos he uttered outspokenly. Scc R. Montero, op. cil.
4o A parallclism betwcen the two films is also suggested in Carlos J. Plaza. José Luis Rebordinos
   (cús.), Il humor y la moción. El cinc y la Aclevisión de Antonio Mercero (San Sebastián:
    Jilmoteca Vasca, 2001). p. 26.
41 This is how Liva/Bosé describes herself in a conversation with her hushand in the film's first
   half: "Ya sahcs, no soy una mujer tradicional; no me gustan ciertas costumbres."
42 "En algún momento de mi vida he conocido a gente que me ha confesado que, más que mi
   belleza. le ha llamado la atención una especie de halo enigmático. una barrera protectora
   hacia los otros, hacia el mundo que al parccer, desprendo." See her authorized (and disap
   pointingly uninspircd) biography: Begoña Aranguren, Lucia Bosé. Diva. divina (Earcelona:
   Plancia, 2003). p. 60.
43 Ulcr post-1975 filmography includes: Per lc antiche scale (Nauro Bolognini. 197;). Cronsia di
   una morie anunciada (Francesco Rosi, 1987). L'avaro (Tonino Cervi. 1930). Harem suare
   (Icrzan Orpcick, 1999).
44 In Violanta (Danic) Schmid. 1977), and Lumicre (Icanne Moreau. 8976). She has worked with
    Morcau in a film dirccted by Marguerite Duras a few years carlier. Nathalio Granzar (8972).
45 "Mabla Patino". Dirigido por, no. 38 (November 1976), p. 27.
46 In A propósito de Bunuel (José Luis López linares, Javier Rioyo. 2000). A written intervievi on
    the same subject is also included in Cuadernos de la academia. cit.




                                                                                               957
