George Fons I was clear what to do cinema it is playing with very serious things. When you were ever asked what advice you would give to a young directorsaid that the ideal, always, is to observe daily life, write it down and record it, because even in the way two people greet each other there is a story.
A meticulous observer, he knew how to transfer social conflicts where it really hurts: in the personal drama. Without stylized resources or bombastic narratives, the director of Red Dawn (1989) and the alley of miracles (1995) made a direct cinema, many times far from that “cult cinema” so valued in some circles. Or is it not a challenge to recount the horror of the massacre of Tlatelolco using only one department as a scenario?
It may interest you: I admired Jorge Fons and will continue to admire him: Ignacio López Tarso
the filmmaker, deceased early this Thursday at the age of 83, “he belongs to the generation of young people who want to give cinema a new face. In the midst of an industry in the second half of the 1960s and 1970s already in open crisis, he bursts in with new proposals and a cinema more committed to social and purity cinematographic. Still in his career TV an intention of proposals with Projects What The house at the end of the streetfirst soap opera of mystery, in the 80s”, says the critic of cinema of this publishing house, Gerardo Gil Ballesteros.
Disciple of two great men of theaterSeki Sano and Enrique Ruelas, Fons was familiar with the Stanislavski method, in which actors use emotion and the subconscious to play their characters.
“With Jorge Fons, the three greats of the film industry Mexican, such as Felipe Cazals and Jaime Humberto Hermosillo”, he says in an interview with The Sun of Mexico the actress María Rojo, who was part of the cast of Red Dawn, tape censored during part of Carlos Salinas de Gortari’s six-year term, because it was the first open criticism against the student massacre from 1968.
Director of The puppies (1973) and masons (1976) was sure that cinema is a “social art” where individuality gets in the way. Collective development, he said, could only go hand in hand with a country where artistic and ideological expression was completely free. Fons once said that 1968 was a turning point in the history of Mexico because, paradoxically, “ingenuity began to crumble.”
“He was a man willing to listen and contribute ideas, always focused on growing the cinema national. His way of narrating cinematographically was unmistakably Mexican. Their films they never shied away from social concerns. Fons starkly saw a country that had not been seen enough, or that had only been seen in an escapist or melodramatic way”, observes the producer and director of the UNAM Film LibraryHugo Villa.
Ignacio Lopez Tarso remember when his friend Jorge Fons directed it in The Masons. “We went to Germany for the Silver Bear Jorge, our great friend Katy Jurado and I. In that movie we had many friends and it was so good that he won the silver bear at the Berlinale in 1977″.
“I am very sorry for his death. he was a great directorwhich was rarely called in the cinema directed very few films, should have been a directorperhaps the most important of his generation, and they did not let him do his film careerthey hindered him”, stated López Tarso bluntly.
“He is one of the greatest architects of the renewal of our cinema. He, along with figures such as Felipe Cazals, Jaime Humberto Hermosillo and Arturo Ripstein, shaped modern Mexican cinema,” says Leticia Huijara, president of the AMexican Academy of Cinematographic Arts and Sciences (AMACC).
the too actress highlights the generosity that characterized Fons. “There won’t be a single person in the film community who won’t tell you what an enormous human being Jorge was,” he says.
He also remembers a Fons always vehement when talking about cinema and recognizes that the director was also a fundamental guild actor for the strengthening of the industry. “He is the one who promotes and leads the renewal of the AMACC“, it states.
Fons was a student of the first generation of the University Center for Cinematographic Studies (CUEC) and was founder of Tlalnepantla Theater, where he mounted great classical and contemporary works. And it is that Fons was, above all, a man of theater. He was, in fact, a close collaborator of one of the most important scenic masters in Latin America: Ludwik Margules.
The cinema it was their platonic love come true. She first dedicated herself to films college girls But his big moment was when he joined the production team of The Caifanes (1967), pioneer tape of the mexican cinema that sheltered a generation of CUEC graduates who would later lead the new wave of film industry national. Jorge Fons and Arturo Ripstein were in that litter.
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“They forged the cinema copyright and now they are gone. I was privileged to work with him on The attempt Y Red Dawn. He was a person with many skills: he painted, he danced, although he was charming, when he had to get serious and energetic, he did it. He not only taught me how to act, he also taught me how to make noodle soup and taught me how to knit for a scene that was required in Red Dawnwhich as everyone knows was produced with the savings of Hector Bonilla”, shares María Rojo.
George Fons belonged to a generation formed in the utopia of the sixties, a generation that, as he said many times, was in love with cinema beyond the vicissitudes of fame and business. With information from Alma Rosa Camacho