Tula without censorship: a survey of the «other version» of Miguel Picazo’s classic
DOI:
https://doi.org/10.24310/Trasvasestlc.vi2.8662Keywords:
Film adaptation, screenplay, Tula, Unamuno, Picazo, censorship, García Escudero, New Spanish CinemaAbstract
Since its success at the San Sebastián International Film Festival (1964), Miguel Picazo's La tía Tula has become one of the milestones of the “New Spanish Cinema” and, over time, one of our classics. However, as García Escudero himself predicted, General Director of Cinematography during those years of “openness” of the Franco regime, the prejudice of having been censored in excess has not ceased to accompany the film, almost as an attribute already inherent to it. Moreover, the fact that the censored negatives were destroyed would have only contributed to this legend. In this study, we intend to compare the film that has reached us with the script published in 2005 on the occasion of the 40th anniversary of its premiere. In doing so, we will take into account not only the scenes and shots cut by the censorship, but also all the modifications made by Picazo himself in his task of staging his work. Our journey will reveal a more complex and nuanced version of the main characters, as well as a much more detailed, incisive and even scathing portrait of the provincial society of the early sixties.
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