Translated and Edited by Walter Lippmann.
Buenos Aires, Oct 20 (Prensa Latina) He was 81 years old but for those who knew him up close, he had a young, cheerful heart and an enviable capacity for work, today the Argentineans say goodbye to one of their greatest actors, the great Federico Luppi .
Although he had been hospitalized several days ago due to a health problem that had been dragging on since his head was hit last April, the news has had an impact on the cultural media of the country and especially those Argentines who lived and dreamed of their actions.
Luppi, Time of Revenge, Labyrinth of the Faun, Common Places, Martin Hache, Cronos and many other films, died this morning at the Favaloro Foundation, where he remained hospitalized waiting for a transfer to another clinic to start a rehabilitation process.
The blow to his head produced a cerebral clot while he worked. In just six months his life went out but not the indelible mark left in Latin American and international cinema in more than 70 films, many of them multi-award winning. ‘Never’, he said sharply when one or another journalist asked him if he planned to retire one day and he kept his word, because despite his health complications, he was about to start a theatrical tour with the piece Las ultunas lunas, a play about old age, directed by his wife Susana Hornos.
On Twitter, messages weep over Luppi. He died a big figure, perhaps the most repeated word to say farewell to this actor, considered one of the most versatile interpreters of his generation.
Some pay homage with photographs and eternal thanks, others publish some of the most memorable scenes of their performances to recall it.
‘I am happy to be alive at this age, to have done so many things in Argentina and still be able to recount them. And I would like, yes, in slightly fantastical terms, to descend slowly through the dark side of the moon, but with dignity,” said this cinematic icon, who left for eternity today.
rc / may
The investigations of Leonardo Padura’s detective are in audiovisual form now. Jorge Perugorria plays the detective who investigates a series of crimes in a colorful and decadent Cuba
The script of the series is based on four novels by the Cuban author.
FOUR SEASONS IN HAVANA, by NETFLIX
By Federico Lisical
A CubaNews translation.
Edited by Walter Lippmann.
“I decided to make a character who was in conflict with the reality he was living,” Leonardo Padura once told this newspaper. The Cuban writer was referring to Mario Conde, the officer who was the main character ofj his police novels and who now centers the NETFLIX miniseries Four Seasons in Havana (that since last Friday can be seen online). The series is based on stories in Padura´s four novels: Past Perfect, Winds of Lent, Masks, and Autumn Landscape.
This disenchanted but noble man, who does not seem to be a police lieutenant and has a great love for books, is interpreted by Jorge Perugorría. Almost to his regret, the best thing he knows how to do is solve mysteries and write up his wanderings with a typewriter. “There is no one better than Mario Conde to get into Havana, rummage through its darkness, and draw some light. That special insight the detective has, is particularly revealing. What I wanted to do was to make a kind of chronicle, a testimony of what recent Cuban life has been like. In each of his investigations, he reveals a sector of Cuban society, but also the humanity of a number of characters who live that reality day-to-day,” said the writer in another interview.
In total there are four episodes, ninety minutes each. They were directed by the Spaniard Felix Bizcarte, and the role of Padura himself in the adaptation was key, as well as that of his wife Lucia López Coll. Their intention was to preserve the tone of the novels and let the Cuban reality filter in naturally. What is the resulting Havana? One that shows its darkest and most sinful side. There is corruption, traffickers of all kinds –of drugs and influence– has been but there is also the dream of what the revolution could have been. Conde is a romantic who goes around throwing phrases for whoever wants to listen: “Havana has fallen so much that is has gone to shit”; “Cops investigating cops… What the hell is going on?”
The context is crucial as the books were published between 1991 and 1998 and reflected what was happening on the island after the end of the Cold War, the tightening of the embargo, and the regime’s opposite sides. As the author said, “… I learned from Hammett, Chandler, Vázquez Montalbán and Sciascia that a police novel can have a real relationship with the country’s environment; that it can denounce or touch concrete facts and not just imaginary realities.” “El Conde” moves about the capital of Cuba as a Philip Marlowe who suffers the heat, and fights his destiny, “doing what I have to do, but never what I really want to do.” The big difference with the iconic detective of suburban Los Angeles is that Conde is a cop. “It was totally unrealistic to have someone who was not a police officer investigate a crime in Cuba, especially if it was a murder,” Padura explained. But Conde also dreams of being a writer and that is what saves him.
This jaded subject is summoned to investigate the murder of a high school teacher while he is also looking into another case that has to do with his own past. In all of these there are several criminal associations. As in every noir police story, in addition to the investigations there are institutions tainted with indolence, elites complicit with business interests, femmes fatale, jazz music and seedy bars. Its main character is a researcher of the shadows but with a complex humanity and far from clichés. “Conde represents a generation of Cubans who believed in a country project that will never be, and feeds heavily on nostalgia. He’s a fucking nostalgic, as he defines himself, “said the actor who has the role.
The photography (by Spaniard Pedro J. Márquez) is one of the highest points of the production. The tone is twilight and oblivious to any “for export” intention. The rundown houses of the old quarters convey the stupor of the characters; and the danger in a harbor city when the sun goes down. The scenes of violence are given in unusual settings that can capture the audiences. In short, there are four genre stories within a very unique context that reflects the day-to-day life of the Caribbean city and its surroundings. One can easily perceive how the characters are linked: their body language, how they breathe and perspire, their unrefined speech that mispronounces sounds, how their food smells, and how they have sex. Four Seasons in Havana is, above all, a sensory experience. “Noir was never so colorful,” said one of the promotions for the miniseries; but it may be exactly the other way around.
By Rolando Perez Betancourt
A CubaNews translation.
Edited by Walter Lippmann.
For several days now, the international press that covers show business and their scandals was making a lot of fuss over millionaire Paris Hilton going to Europe to “meet” soccer star Cristiano Ronaldo, best man in the courts today.
Would they begin an affair? Can the Portuguese escape the seduction of this romance collector? These were some of the expectations around the young star, who was recently acquired by the Real Madrid at an unpronounceable price, and the so called blond of gold. Her merits list is larger, more because she comes from a rich family and for the scandals she never stops creating, than for her performances as actress, model and singer.
Everything seems to indicate that the boy saw her for some minutes, smiled courteously and continued on his way to training. The tall queen of the media, slighted, declared that he had looked “somewhat feminine.”
Soon after, Cristiano Ronaldo was again in the spotlight, not because he is a sports star, but for kicking the car of a paparazzo that was following him on the streets of Lisbon. The soccer star explained in a press release that up to that moment, he had put up with weeks of harassment by sheer self control. But, the image hunter had not taken into consideration that his victim was traveling with his mother. And, one doesn’t disrespect someone’s mother! Therefore, if such a situation repeated itself, he would probably react in the same way.
The almost coincidental deaths of Michael Jackson and actress Farrah Fawcett have put the topic of the paparazzi again on the table. And in passing, the fatal accident of princess Diana of Wales while escaping from a group of them in Paris is also remembered.
Jackson was constantly harassed in his intimacy and Farah Fawcett, who was a cancer victim, left a bitter testimony, days before her demise, accusing the press and the paparazzi of being decisive in the deterioration of her health. They took photographs of her in a wheelchair showing her fragile and haggard. “I asked them to please leave me to fight my illness alone, but they never heard me, they harassed me, they wanted to be beside me every step till the end and it is already known that cancer feeds on stress.”
Technological development –digital cameras and Internet for quick transmission—have made paparazzi proliferate and the competition is ferocious. Some of them are employed and some are independent. And, sometimes they are the ones who pay the so called “stars brokers”, who detect what public figures are doing and locate them. Then the paparazzi speed off by motorcycle, car or airplane to wherever they are. Their objectives are very specific following a unique and unalterable concept: all embarrassing situations are profitable! It doesn’t matter if they are infidelities, evident or imagined, accidents, carelessness of a physical nature (poor Britney Spears and others), being nude in the high seas or in restricted areas, and, most of all, sexual scenes.
In extreme situations, when the intrusion is of such proportion that it defies human understanding, almost all reproaches are usually made to the paparazzi and people forget that –although guilty– they are part of a mechanism that starts higher up. It begins where the owners of big businesses, generally printed media competing with each other, print just about anything “weird” about show business stars.
These are stars that they frequently help manufacture and then go after them and destroy them. All this on behalf of a reader –equally manufactured–that, without realizing he is being manipulated, pays to see what lies behind the curtains of the famous.
And of from there, the paparazzi take their share (of the blame).
The film had its world premiere at the Telluride Film Festival, where it was a great success
Hector Medina stars in the film
Film “Viva”, set in Cuba and directed by Paddy Breathnatch, was chosen by the Irish Academy of Film and Television to represent the country at the Oscar Academy Awards as best foreign language film.
In this regard, Aine Moriarty, President of the Irish Academy, said: “The Irish Academy is delighted that this wonderful film by Paddy Breathnach and Mark O’Halloran represents Ireland at the Oscars. It reflects the creativity and diversity of points of view of this Irish team while shooting a Cuban story that is so tender, intriguing and visually captivating.”
The film had its world premiere at the Telluride Film Festival, where it was a success. In October, it will be presented at the Busan Festival.
Written by Mark O’Halloran, the drama follows Jesus, an 18 year old Cuban who is lost and trying to find his true identity. Unsure of himself or his future direction, he works at a drag queen club in Havana. There he pursues his dreams of becoming an actor, while earning money through prostitution.
He finds his oasis at home listening to the albums his mother and grandmother left him; or even watching the boxers who train next door. Then, something comes to his life that will challenge his direction and his freedom: his missing father, a famous boxer, who returns after spending 15 years in prison for killing a person in a street fight when Jesus was a child.
The cast includes Hector Medina, Jorge Perugorría and Luis Alberto Garcia.