{"id":265084,"date":"2023-02-15T07:35:44","date_gmt":"2023-02-15T12:35:44","guid":{"rendered":"https:\/\/oncubanews.com\/en\/?p=265084"},"modified":"2023-02-15T07:39:58","modified_gmt":"2023-02-15T12:39:58","slug":"joel-del-rio-we-would-not-have-to-keep-repeating-the-refrain-that-garcia-marquez-and-cinema-make-up-an-ill-matched-marriage","status":"publish","type":"post","link":"https:\/\/oncubanews.com\/en\/culture\/cinema\/joel-del-rio-we-would-not-have-to-keep-repeating-the-refrain-that-garcia-marquez-and-cinema-make-up-an-ill-matched-marriage\/","title":{"rendered":"Joel del R\u00edo: \u201cWe would not have to keep repeating the refrain that Garc\u00eda M\u00e1rquez and cinema make up an ill-matched marriage\u201d"},"content":{"rendered":"

El cine seg\u00fan Garc\u00eda M\u00e1rquez<\/span><\/i> originally published ten years ago by Ediciones ICAIC returned this time as one of the proposals of the International Book Fair in its 31st edition<\/strong>, which has Colombia as the guest of honor country.<\/span><\/p>\n

\u201cAt that time (2013) the book analyzed, for the first time, as far as I knew \u2014 because similar ventures later appeared in various countries \u2014, the writer\u2019s relationship with cinema from his childhood to his last breath. I was trying to show, above all, that critics have not been completely fair or profound when it comes to evaluating the films inspired by their works, since they were mostly carried away by the usual prejudice of comparing the achievements of the films with the scope of the literary original. In this way, the book dedicates a chapter to each of these versions and analyzes the artistic interest and cultural legitimacy that inhabits them,\u201d says Joel del R\u00edo, journalist, critic, professor and author of the volume.<\/span><\/p>\n

\u201cCriticism was included \u2014 neither diatribes nor panegyrics \u2014 of most of the film adaptations of his stories or novels, or the screenplay of scripts specially written by the author of <\/span>One Hundred Years of Solitude<\/span><\/i>, and in each film the achievements of eminent filmmakers stand out, faced with the challenge of re-creating narratives perfectly embedded in their universal resonance.<\/span><\/p>\n

\u201cSuch is the case of several recidivist directors such as Mexicans Jaime Humberto Hermosillo (<\/span>Mar\u00eda de mi coraz\u00f3n<\/span><\/i>,\u00a0<\/span>El verano de la se\u00f1ora Forbes<\/span><\/i>) and Arturo Ripstein (<\/span>Tiempo de morir<\/span><\/i>,\u00a0<\/span>El coronel no tiene quien le escriba<\/span><\/i>); Cuban Tom\u00e1s Guti\u00e9rrez Alea (<\/span>Cartas del parque<\/span><\/i>,\u00a0<\/span>Contigo en la distancia<\/span><\/i>); Mozambican-Brazilian Ruy Guerra (who has been in charge of bringing to the screen <\/span>Er\u00e9ndira<\/span><\/i>,\u00a0<\/span>F\u00e1bula de la bella palomera<\/span><\/i>,\u00a0<\/span>Me alquilo para so\u00f1ar<\/span><\/i>,\u00a0<\/span>El veneno de la madrugada<\/span><\/i>) or Colombian Jorge Al\u00ed Triana (<\/span>Tiempo de morir<\/span><\/i>,\u00a0<\/span>Edipo alcalde<\/span><\/i>), who are among the lucky ones who managed to capture on celluloid, albeit fragmentarily, the full understanding of the Garc\u00eda M\u00e1rquez universe.<\/span><\/p>\n

\u201cThere are numerous Latin American filmmakers,\u201d the author maintains, \u201cwho got the best films from him by making versions of stories created by the Colombian and 1982 Nobel Prize Winner for Literature.<\/span><\/p>\n