Biography of Marco Ferreri (1928-1997)

Director and screenwriter, born in Milan (Italy) on May 11, 1928 and died in Paris (France) on May 9, 1997. The personal journey of one of the most interesting and controversial European film begins, from the veterinary career, in some commercial advertising. Immediately became involved as a producer on the set of a few informative vocation shorts called document mensile (1950), which involves some of the most representative of the Italian cinema of the time (Fellini, Visconti, Zavattini, etc.). It continued its work years later with Lo spettatore, a filmed journal in which are also Riccardo Ghione and Cesare Zavattini, which sought, monthly, realistically capture some social situations. Fruit of the experience left six episodes included under the generic title Amore in Città (1953), signed by Antonioni, Fellini, Lattuada, Lizzani, Maselli and Risi. As a producer, in addition to what has been done (Il capotto, 1951), tried to move forward with other projects (Donne e soldati, 1955) of which went wrong stands, so much that he/she decided to find new professional horizons, moment in which left his country towards Spain.

Your Spanish stay began with a job as executive producer of Toro bravo (1956), a film by Vittorio Cottafavi. In the absence of opportunities it ventured into the commercialization of optical equipment for cinema. But soon had the opportunity to meet Rafael Azcona, a writer who had the screenplay with Luis García Berlanga's sold a tram, although already had several books on the market. Azcona-Ferreri is going to be a tandem that is perfect when it comes to hairs about a certain Spanish realism - realism-charged black, acid and cruel humor that hardens even more by the environment in which the stories are rolled and the unique characters that pervade his experiences of corrosive irony.

This is how reach screens three movies strictly influencing the progress of cinema Spanish of late 1950s, at a time that was a change of direction in terms of theme and aesthetic approach. The small apartment addresses a survivors story, in which the moral system which dominates the eternal couple imposes conduct very rooted in the moods of individuals, mirrors of the society that surrounds them. In this sense, the couple lives aware of the death of the old woman, the only way out to hope that their withered bodies may have to reach an already numb. In the boys flakes a world without perspective, the raison d ' être of a life that longs to cling to the reasonable but quite dubious horizon, where the risk of an ephemeral adventure - in which the teenager moves on the dangerous edge of transgressing social norms - that is resolved in the bitter experience of living is essential. This experience, on the basis of friendship and conviviality, develops with another twist in the stroller, a Masterful tale in which the need for companionship is capable of carrying up to unsuspected extremes the attitude of an old man who wants to buy a car to go and be with all your friends. This film is a story of the encounter between exclusion and coexistence, the lack of solidarity by people who live in its existence and the aggressiveness of one who appreciates the personal values of the most disadvantaged. It is also the dream, the illusion of those looking for an incentive that allows you to breathe in a sleepy vital and social environment.

The rich contribution of Ferreri is contrasted with emphatic stance keeps the Spanish Government of the time against the dissemination of films, broadcasting will be conditioned in all cases and that, after controversial tough, will that these be released with notable delays. These contributions, however, led Ferreri to having to leave the country, since it was considered with great diplomacy as a person "non grata". Of their stay would be the memory of a work appreciated with Azcona, which will collaborate on several subsequent projects.

After settling again in their country, Ferreri was gradually lashing out at the individual, social structures, constraints that weigh upon the man from the point of view of moral, religious, sexual, personal and collective tragedies. Ferreri seeks to communicate through each and every one of the stories that it addresses, but their conversation, hard-hitting, aggressive and ruthless, not gives margin to a possible evasive maneuver.

The existence of man, his concern for the pleasure and death, by the satisfaction and degradation of the relations among individuals, will be shown from Dillinger is dead until blacks also eat, through corrosive dissection of the society of the time in the great binge and the destruction of man goodbye to the male.

The trajectory of Ferreri is the story of a director who, over more than thirty years has fought against the tide and has maintained a fractious creative coherence in which his thoughts are more than metaphors about the existence of contemporaneity.

His films received multiple awards in some of the most important film festivals (including the special prize of the jury at Cannes, for goodbye to the male and, at the same festival, two separate awards for actress for L'ape regina and history of Piera).

Filmography

1958: The small apartment. 1959: The boys. 1960: The stroller. 1961: Le italiane e l'amore (episode Infidelita coniugale). 1963: L'ape regina; The business is over. 1964: Controsesso (episode Il professore). 1965: L'UOMO dei cinque palloni. 1966: Marcia nuziale. 1967: The harem. 1969: Dillinger is dead. 1970: The male semen. 1971: l' Envoy. 1972: The cagna. 1973: The great binge. 1974: Don't touch the white woman. 1976: The last woman. 1977: Goodbye to the male. 1979: Chiedo asylum. 1981: Ordinary madness. 1983: story of Piera. 1984: The future is female. 1986: I Love You.1987: Blacks also eat. 1990: The casa del sorriso. 1991: The meat. 1993: Diario di a curl. 1996: Nitrate d'argento.

Bibliography

FRUGONE, Juan Carlos: Rafael Azcona: trapped for life. Valladolid. Seminci. 1987.

PARIGI, Stefania (.): Marco Ferreri. Pesaro. Mostra Internazionale del Nuevo Cinema. 1995.

RIAMBAU, Esteve (.): Formerly of the Apocalypse. The cinema of Marco Ferreri. Valencia/Madrid. Mediterrani Mostra/Chair. 1990.