Director and Mexican actor, called "El Indio", born in ore of the Hondo (Coahuila) on March 26, 1904 and died in Mexico City on August 6, 1986.
Previous revolutionary family, from a young age took party in the military activity of their country - came to obtain the grade of Colonel, made that forced him to leave heading to United States, to avoid jail.
Wandering through California decided, as the only way of survival, search accommodation as an actor in the Hollywood film productions. There he/she spent a few years until he/she returned to Mexico at the time in which Lazaro Cardenas assumed power. In his country he/she continued his work as an actor, acting in several films throughout the 1930s.
The first step - and to some extent gave it decisive - the direction with the island of passion (1941), a film of clear patriotic exaltation as his second work, I am pure Mexican (1942), in which confirmed his desire to find the image representing the Mexican cinema; These initial results were not completely satisfactory.
If we find in their first films the actor Pedro Armendáriz, immediately both joined the team Dolores del Río and María Félix as interpreters and Gabriel Figueroa as undisputed director of photography, setting up one of the most interesting teams of the cinema of the 1940s in Mexico.
It was during these years when Emilio Fernández consolidated his career, surprising everyone with maturity in Flor silvestre (1943), in which it stated revolutionary ideals around a romance which faced to the farmer and to the chieftain. María Candelaria (1943) placed the action at the beginning of the century, whose argument is the tragedy experienced by a young woman who cannot reach their dreams because the drama surrounds each of its steps. This film will be offering a new image of the Mexican cinema, in which types, environment and creative contribution of the director and performers and the photographic plastic of Figueroa, strengthened the coexistence of simplicity with the emotive, the humanity of the peasant with the tyranny of the more affluent; They speak for itself alone the gestures and actions of characters who live and feel, real are displayed.
Exponent of rural films, his career evolved in these directions because, fundamentally, that his films were consolidating their prestige, believing to have found an exportable way beyond his country, though ultimately his film was the roots of "Mexican", stance that clearly facing the line designed by Julio Bracho, more referential aristocratic expression of human feelings.
Thus, Emilio Fernández progressed throughout the Decade through the frustrated loves and drama (Bugambilia, 1943), reflection on the greed of the always dissatisfied man (Pearl, 1945), the story emerged in the revolution (Enamorada, 1946) and other more contemporary, marked by the ideological features of the position on the left of the director (Río escondido1947) or by the need of the man who wants to regenerate and calling to life allows you to have a new opportunity (Pueblerina, 1948).
The evolution of the work of "El Indio" was also justified by the desire of a film that sought to rely on creative values of its highest representatives. This work, in any case, also was affected by the economic rigors which plunged the Mexican cinema in ways of precariousness and survival.
Without abandoning its creative principles, - with its inseparable photographer and solo - director, continued from the 1950s addressing new topics - some far removed from the gravitating had prestigious le, although insisting the human and personal dramas-, working on projects in other countries, tried to overcome a final that was heralded early, perhaps, because not be fit easily to certain demands and a continued job insecurity.
The figure of Emilio Fernández is discovered to world cinema, basically, for their contributions of the forty (was supported in their projects by world as Agustín J. Fink-Films producers, Oscar Dancigers-Eagle Films, Benito Alazraki-Panamerican Films or Gregorio Walerstein-Filmex). His name was widely respected in other cinemas and very different directors, for which he/she worked as an actor. Above his failures, his figure has been fundamental to understand the awakening of the Latin American cinemas, in a desire to offer an image itself, unlike the imposed from other domains more mercantilist, although this role will not impede is also appalling him an excess of realism and be a staunch defender of social justice - with characters immersed in a torrent of violencedrama and conformism, leaning to do this in a very pictorial and scenographic aesthetic.
Several films in North America during the early 1930s.In mexico:1934: heart bandolero, tribe and Manitzio 1935: María Elena and jealousy 1936: marijuana, women sent back in rancho grande, the superloco, 1937 Sham: the four milpas.1938: Juan without miedo.1958: the cucaracha.1961: Brothers of iron (the llaneros). 1962: the bandida.1963: the Iguana.1964 night: Los hermanos Muerte; I, the brave; The straight; A salida.1965 dead: gunmen duel; The conquest of El Dorado; A type difficult to kill; The wicked. 1966: The silent.
1937: Abnegacion.1939: in abajo.1940: the black charro; The Fox of Jalisco; Rancho alegre.
1937: Goodbye Nicanor.
1938: Here was the valenton.1939: with dorados de Villa.
1938: The Lord alcalde.1939: the aire.1944 men: between brothers.
1950: Marias.1952 Islands: when lifting the niebla.1954: the rebellion of the hanged (co-direction). 1956: A quote from love; The impostor.1968: the twilight of a dios.1973: La Choca.1975: zone roja.1977: Mexico norte.1978: Erotica.
1941: The island of pasion.1966: A dorado de Pancho Villa.
1942: I am pure mexicano.1947: River escondido.1948: Pueblerina.1949: hate the love (English version of love) was born. 1951: the sea and you.
1943: maría Candelaria.1944: Las abandonadas (love shadow); Bugambilia.1946: Enamorada.1948: mexico.1950 Hall: A day of life; Victims of sin; Always tuya.1951: Acapulco.1953: the network; The Rapture; The white rose.
1943: Wild flower.
1945: pepita Jiménez; The perla.1948: Maclovia (damned beauty). 1949: the malquerida; Duel in the montanas.1951: the bienamada.1954: both of us.
Actor and address:
1963: Bloody revolver.
1947: The Fugitive.
1955: Shuts off Tierra del Fuego (address only) (in Argentina). 1962: wound pigeon (address, arg. and actor) (in Guatemala). 1965: The Reward (only actor) (in the U.S.). 1966: Tha Appaloosa (only actor) (in the US); The return of the magnificent seven (only actor) (in Spain); The War Wagon (only actor) (in the U.S.). 1968: wild Group (only actor) (in the U.S.). 1973: Pat Garret and Billy the kid (only actor) (in the U.S.). 1974: want the head of Alfredo García (only actor) (in USA). 1984: under the volcano (only actor) (U.S.-Mexico)
(Note: the prolific and complex career of Emilio Fernández makes it difficult to establish a complete list of his films as an actor).
BLANCO AYALA, Jorge: The adventure of the Mexican cinema. Mexico, Ed. It was 1968.
Hill, José of the: Emilio, Indian, Fernández. Huelva, Film Festival, 1984.
GARCÍA FERNÁNDEZ, Emilio: "Emilio Fernández", in Universal history of cinema. Madrid, planet, 1982.
Garcia RIERA, Emilio: Documentary history of the Mexican cinema. Mexico, Ed. Was, 1969, 9 vols.
Emilio Fernández. Guadalajara-Mexico, University of Guadalajara-Cineteca Nacional, 1987.
MAHIEU, José Agustín: Panorama of the Cine Iberoamericano. Madrid, Ediciones de Cultura Hispánica, 1990.
REYES, Aurelio de the: half a century of Mexican cinema (1896-1947). Mexico, of. You relax, 1987.