Publication: Y llegó el día de la venganza. Franco contra Hollywood
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2017
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Abstract
En 1936 buena parte de la industria de Hollywood se pone del lado de la República contra el
régimen de Franco. Cerca de 30 años tardarían en consumar una venganza contra una de las
majors de Hollywood, la Columbia; aunque los verdaderos perdedores de este pulso fueron
los trabajadores españoles de dicha compañía. Todo ello en pleno auge de la apertura del régimen,
de las facilidades para rodar en España grandes producciones de Hollywood y en plena
celebración de los 25 años de paz. E] enfrentamiento con la Columbi a buscaba controlar Ja
imagen que de la Guerra Civil se debía transmitir al mundo. En 1964 la Guerra Civil española
sigue siendo utilizada como arma política para consolidar un régimen. En este contexto Fred
Zinnemann decide rodar Y llego el dia de la venganza, un film basado en la novela de Emeric
Pressburger Killing a mouse on Sunday. El film no fue estrenado en España hasta después de
la muerte del general Franco y se convirtió en un mito, no por su calidad sino por el trato recibido
por la censura. Más allá de la prohibición de su exhibición, las presiones se dirigieron
contra la compañía productora: la Columbia Pictures. El tema llego a tener repercusiones internacionales
con intervención de embajadas y ministerios. La comunicación pretende explicar
las primeras conclusiones de una investigación que durante 4 años hemos realizado sobre
los dietarios del di.rector de la Columbia en España Emilio López, que dan datos nuevos muy
importantes sobre este caso.
In 1936 good part of the industry of Hollywood puts of the side of the Republic against Franco's regime. Near 30 years they would be late in consumar a revenge against one of the majors of Hollywood, the Columbia; though the real losers of this pulse were the Spanish workers of the above mentioned company. Ali this in full summit of the opening of the regime, of the facilities to ro11 in Spain big productions of Ho11ywood and in ful] celebrations of 25 years of peace. What was looked was to control the image that of the Civil war had to be transmitted to the world. In 1964 the Spanish Civil war continues being used as political weapon for consolidating a regime. In this context Fred Zinnemann decides to roll And I come the day of the revenge, a film based on Emeric Pressburger's novel Killi ng to mouse on Sunday. The film was not released in Spain up to after the death of the general Franco and tumed into a myth, not for his quality but for the treatment got for the censorship. Beyond the prohibition of his exhibition, the pressures went against the produci ng cornpany: the Columbia Pictures. The topic I manage to have international repercussions with intervention of embassies and departments. The communication tries to explain the first conclusions of an research that for 4 years we have realized on the cliari es of the director of the Columbia in Spain Emilio López, that they give new very important information on this case.
In 1936 good part of the industry of Hollywood puts of the side of the Republic against Franco's regime. Near 30 years they would be late in consumar a revenge against one of the majors of Hollywood, the Columbia; though the real losers of this pulse were the Spanish workers of the above mentioned company. Ali this in full summit of the opening of the regime, of the facilities to ro11 in Spain big productions of Ho11ywood and in ful] celebrations of 25 years of peace. What was looked was to control the image that of the Civil war had to be transmitted to the world. In 1964 the Spanish Civil war continues being used as political weapon for consolidating a regime. In this context Fred Zinnemann decides to roll And I come the day of the revenge, a film based on Emeric Pressburger's novel Killi ng to mouse on Sunday. The film was not released in Spain up to after the death of the general Franco and tumed into a myth, not for his quality but for the treatment got for the censorship. Beyond the prohibition of his exhibition, the pressures went against the produci ng cornpany: the Columbia Pictures. The topic I manage to have international repercussions with intervention of embassies and departments. The communication tries to explain the first conclusions of an research that for 4 years we have realized on the cliari es of the director of the Columbia in Spain Emilio López, that they give new very important information on this case.
Description
Actas del V Congreso Internacional de Historia y Cine celebrado en la Universidad Carlos III de Madrid del 5 al 7 de Septiembre de 2016.
Keywords
Cine, Cine histórico, Columbia, Zinnemann, Fraga, García Escudero, Censura, Censorship
Bibliographic citation
V Congreso Internacional de Historia y Cine: Escenarios del cine histórico (V, 2016, Getafe). Gloria Camarero Gómez, Francesc Sánchez Barba (eds.). Getafe: Universidad Carlos III de Madrid, Instituto de Cultura y Tecnología, 2017, pp. 1453-1467