Fernando Fernández Gómez, better known as Fernando fernán Gómez (Lima, Peru, 1921 – August 28, Madrid, 21 November 2007), was a writer, actor, screenwriter, film director and Spanish Theatre. He was a member of the Royal Spanish Academy for seven years where he held armchair B since joining (30 January 2000) until his death.
Most, as he writes in his memoir, [ 1 ] likely was that he born in Lima on 28 August 1921, while his departure from birth indicate that he did in the capital, argentina, Buenos Aires. The reason for this is his mother, the actress Carola fernán Gómez, was on tour in South America when he was born in Lima, so his departure from birth was issued days later in Argentina, nationality he held, apart from the Spanish, was granted in 1984. Extramarital son, his father was the also actor Luis Fernando Diaz de Mendoza and warrior, the son of María Guerrero, who prevented the marriage between Fernando Fernán Gómez parents.
After some school work as an actor, he studied philosophy and literature in Madrid, but his true vocation led him to the theater. During the Civil War, he attended the actors School of the CNT, debuted as a professional in 1938 in the company of Laura Pinillos; There he discovered Enrique jardiel poncela, who gave him his first opportunity to offer you, in 1940, a role as supporting actor in his work the thieves are honest people. Three years later he was hired film producer Cifesa and thus broke into film with Cristina Guzmán, a film directed by Gonzalo delgrás, and already the following year was offered her first role player in began in wedding, raffaello matarazzo. Indeed, worked as an actor until the early 1940s to later devote to cinema, first as an actor in hits such as reckless or anchor button) and as a director, without neglecting its vocation director and scene, and the Café Gijón tertulia frequent screenwriter and playwright.
In 1984 dumps her more intense literary vocation in the writing of very personal articles in Diario 16 and the Sunday supplement of El Pais, producing also several volumes of essays and eleven strongly autobiographical novels about historical and other: seller of oranges, journey to nowhere, bad love, sea and time, the lift of the drunken, La Puerta del Sol, the cross and the Golden Lily, etc. Was a great success his autobiography in two volumes, the yellow time, which are at two editions, the second more expanded; but perhaps its most resounding success obtained it with a play soon made into a film, bicycles are for the summer, on his childhood memories of the Civil War.
Married and divorced singer María Dolores Pradera (1947-1959), with whom he had a daughter, actress Helena fernán Gómez, and a son, Ferdinand, also related to the world of culture. He remarried in 2000 with actress Emma Cohen, which maintained a relationship since the 1970s, after participating in an episode of a series of TVE where Emma was protagonist (three were three, 1973) next to Lola gaos.
His hand came cinema into Real Academia Española, of which he was elected in 1998 [ 3 ] and took possession of the armchair B 30 January 2000. It was awarded the Prix Prince of Asturias of Arts in the year 1995. Multifaceted, wanted and respected professionals in the industry and several generations of spectators found popularity acting almost at the beginning of his career with the black comedy classic Carnival Sunday (the famous filmmaker Edgar neville), which starred opposite Conchita mountains in 1945. Two years earlier he had appeared as a child in another notable title of Spanish film of the 1940s as Cristina Guzmán. That same year accompanied an already consecrated Empire Argentina and remembered Heartthrob Alfredo Mayo in the exotic bamboo comedy and also participated in a classic small fantastic comedy as the destination apologizes, of José Luis Sáenz de Heredia, in the style of American subgenus in vogue during those years (invisible partner, Norman z. MacLeod, I married a witch, of René clair, two in the sky, of Victor Fleming, etc.). Then chained titles of success that today critics and lovers are eligible of indispensable, working with Gonzalo delgrás (the inhabitants of the uninhabited house); Carlos Serrano de Osma (Hex, Lola Flores and Manolo Caracol); Sáenz de Heredia (the harvest is plentiful, the eyes leave traces); Ramón Torrado (Anchor button), José Antonio Nieves Conde (reckless, the tenant); Luis Markina (The captain poison). At that time he also worked in Barcelona as a voice actor.
In the 1950s, consolidated its position as lead actor in a series of comedies (phenomenon), drama (the big lie) and reckless religious cinema, Molokai, or propaganda (clear Morena) folk or escapist (which in many ways also considered propaganda to historians), while participating in one of the first messengers of what will then be ‘film Spanish’: this happy couple Bardem and Berlanga. Now also participates in some co-productions such as consciousness accused (of the brilliant georg wilhelm pabst) or the Bachelor (from Antonio pietrangeli) alongside Alberto sordi, and then starts a budding career as a director with unequal wealth commissioned works: therefore sticks out his version of the novel by Wenceslao Fernandez Flórez evil Carabel and two excellent comedies in which shared chemistry and poster with the delicious analía gadé, one of their partners recurring, such as the unfinished life and life around.
Thread Spanish in 1960s cinema, his filmography as actor and director was filled with comedies of all kinds (La venganza de Don Mendo, goodbye, Mimi Pom, Ninette and a Lord of Murcia or imperfect crime), exception other than their work address in the world continues (1963), a gruelling naturalistic drama inspired by the novel of Juan Antonio zunzunegui, where they face two sisters vital conceptions full society of Spanish post-war period, his first success as a director and his strange journey film in opposite (1964), portrays, with almost greater penetration than own Berlanga climate tightfisted and oppressive Spanish Franco society and remains as a Spanish of all time movies summits; both roductions were tremendous clashes with censorship. In addition, it is now when you start working relationship with one of their most emblematic partners, Concha Velasco, black comedy crime for newlyweds.
In the 1970s, Fernán Gómez, became one of the most sought-after actors of the so-called Spanish transition, with gilt titles of those years as the spirit of the Beehive, Captain love Brando, Pim, pam, pum, fire, my daughter Hildegart, the wreck, Mama turns 100 years or Up Azaña!. This started a successful collaboration by the remarkable director Jaime armiñán and also close professional relationship with Carlos saura, earning it a fair reputation as an actor and director of recognition for his long career. In 1976 she appeared in a title of unquestionable value, but not for the general public as the Anchorite, premiered at the Berlin Film Festival. He also directed and performed two successful series for TVE (soldier Juan and above all the rogue) sneak into the public memory. After Franco’s death, and the legalization of the CNT-AIT, took an active membership in Union shows Barcelona participating in anarcho-syndicalist 1977 together with her colleague Emma Cohen Montjuïc rally.
In 1981 she starred in a memorable film wonders of Gutiérrez Aragón, and began to string together hits and audience (the hive, tourism, the stilts, Requiem for a Spanish farmer, the Pharaoh’s Court, half the sky and journey to nowhere). Ends the decade with excellent work in films not very welcome but quality: Squillace and the river that takes us. In 1986 it was shot in Argentina a title to be taken into account poor Butterfly, Raúl de la Torre, along with an international cast (bibi andersson, vittorio gassman, Fernando Rey, Graciela Borges); and also this is the Decade in which is more active in its work for TVE (Ramon y Cajal, Fortunata y Jacinta, the spicy, Juncal or impossible stories).
1990S presence the beginning of a period of lower professional activity for some health problems and, surely, lack of scale for an actor like him roles. Safe belle époque and the Oscar that manages the tape as best foreign language film, must wait until 1998 to see you in two very different tapes (each in their own way) as important as the grandfather (nominated for the Oscar and blockbuster) and Pepe Guindo (homenaje-ficción to the great actor from an underrated director but nothing mediocre as Manuel Iborra). Between, was several seasons in the series of TV thieves are going to the Office, which would return you the popularity and other great names of interpretation as Agustín González, Manuel alexandre, or José Luis López Vázquez. Then retrieves bellows with three major films (all about my mother, full moon and the popular success of butterfly tongue).
Most recently rolled visionary of Gutiérrez Aragón; Shanghai spell with Fernando trueba; So I don’t forget, and that is probably as his last great performance in the splendid city without limits, by Antonio Hernández.
Marisa Paredes, President of the Academy of Arts and the film of Spain in the delivery of the tenth gold medal described it perfectly: «by anarchist, by poet, comedian, by columnist, academic, by novelist, playwright, by single and by consequent».
He collaborated for 35 years with the newspaper ABC
On November 19, 2007 was placed in the area of Oncology at the Hospital Universitario La Paz Madrid to be treated for pneumonia. He died in Madrid, on 21 November 2007, at the age of 86.[ 6 ] After announcing it Prime Minister, José Luis Rodríguez Zapatero in the Fiery Chapel of the actor, Government Spain granted 23 November, posthumously, the Grand Cross of the Civil order of Alfonso X the wise.[ 7 ] The Mayor of Madrid, Alberto Ruiz-gallardón, announced that the Cultural Centre of the city of Madrid will be called Teatro Fernando Fernán Gómez.[ 8 ] In fiery Chapel his coffin was covered with a flag officialy anarchist, [ 9 ] later cremated.
* The seller of oranges. Madrid, Thebes, 1961; Madrid, Espasa-Calpe, 1986.
* Journey to nowhere. Madrid, Debate, 1985.
* Bad love. Barcelona, planet, 1987; historical novel.
* The sea and the time. Barcelona, planet, 1988.
* The lift of the drunks. Madrid, Espasa-Calpe, 1993.
* La Puerta del Sol. Madrid, Espasa-Calpe, 1995.
* Stop! novel of love. Madrid, Espasa-Calpe, 1997.
* The cross and Golden Lily. Madrid, Espasa-Calpe, 1998; historical novel.
* Gold and hunger. Barcelona, Muchnik, 1999, historical novel.
* Tooth and nail. Madrid, Espasa-Calpe, 2001; historical novel.
* Time to train. Madrid, Espasa-Calpe, 2004.
* Couple for eternity. Madrid, acanthus, 1947.
* Bicycles are for the summer. Madrid, Espasa-Calpe, 1984.
* The alibi. The Sunday bacchanal. Madrid, Espasa-Calpe, 1985; Madrid, Antonio Machado, 1987.
* Lazarillo de Tormes. Adaptation. Valladolid, Castilla eds., 1994.
* Husband and a half. Comedy released June 7, 1959 at Teatro Gran Vía of Madrid, unpublished.
* King Ordaz and his infamy. Comedy released 22 August 1983 in the theatre of the progress Palace, unpublished.
* Eyes of forest. Comedy released July 9, 1986 in Plaza of the Almudena in Madrid of «Villa summers» programming, unpublished.
* The mischievous . Adventures and misadventures of Lucas maze. First shown in Central Seville on September 8, 1992, unpublished Hispanic theatre.
* The invaders of the Palace. Madrid, Fundación author, 2000.
* Sancho Panza defence. Premiered at the 25th International Festival Theatre classic of Almagro on 19 July 2002, published in the magazine Acotaciones 20.
* Die sane and insane live. Premiered at Teatro Principal of Zaragoza on 13 January 2004, unpublished.
* Journal of Cinecittà. International film magazine, no. 6, November 1952; No. 7, December 1952.
* Oblivion and memory. Fernando Fernán Gómez autobiography. Triumph, no. 3, 6th time, January 1981.
* Yellow time. Memories. I (1921-1943) and (ii) (1943-1987). Madrid, Debate, 1990.
* Yellow time: extended memory (1921-1997). Madrid, Debate, 1998.
* A Roma by something. Madrid, offprint of Spanish poetry (1954); Madrid, Fernán Gómez art and 1982 editions.
* Singing is flight. Madrid, Viewer, 2002 (complete poetry).
Articles and essays
* Actor and others. Barcelona, Laia, 1987.
* Impressions and depressions. Barcelona, planet, 1987.
* Stories of the picaresque. Barcelona, planet, 1989.
* The art of wish. Madrid, today’s topics, 1992.
* Image of Madrid. Madrid, the País-Aguilar, 1992.
* Roofs of Madrid. Madrid, Telefónica Spain, 1992.
* From the last row: one hundred years of cinema. Madrid, Espasa-Calpe, 1995.
* Us adults, 1999.
* Pure theatre and something else, 2002.
* The thieves. Madrid, Anaya, 1986.
* Patch. Madrid, Anaya, 1988.
* My dear general (film script), 1986.
* Stories of the picaresque, 1989.
* The intruder (television over a Borges tale script), 1986
* Out-of-game (film script), 1991.
* Anecdotes of Theatre: here comes to pointer!, Barcelona, DeBolsillo, 1997.
* The scene, the street and clouds (stories), Espasa-Calpé, 1999.
* Talks with Fernando Fernán Gómez (libro-entrevista conducted by Enrique Brasó) Madrid, Espasa-Calpé, 2002.
Filmography as director
* Lunatic asylum (co-directed with Luis María Delgado) (1954)
* The message (1955)
* Evil Carabel (1956)
* Life ahead (1958)
* Life around (1959)
* For men only (1960)
* La venganza de Don Mendo (1961)
* The world continues (1963)
* The pigeons (1964)
* The strange journey (1964)
* Ninette and a Lord of Murcia (1965)
* Greater with reservations (1966)
* Imperfect crime (1970)
* How to get married in 7 days (1971)
* I saw the first (1974)
* The beloved (1976)
* More than witch witch (1976)
* My daughter Hildegart (1977)
* Five forks (1979)
* Mambrú went to war (1986)
* Journey to nowhere (1986)
* The sea and the time (1989)
* Out-of-game (1991)
* Seven thousand days together (1994)
* Nightmare for a rich (1997)
* To Porta do Sol (1998)
* Lazaro de Tormes (co-directed with José Luis García Sánchez) (2001)
* The thieves are going to the Office
* Tertulia with… (1981)
* The rogue (1974)
* Soldier Juan (1973)
* The last tape (1969)
* Life in a notebook, Carlos llopis (1953).