Publication: Las dos caras del fotograma: el curioso caso de That lady (1955), también conocida como La princesa de Éboli
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2011
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T&B editores
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Abstract
En 1953, cuando la España franquista intenta abrirse culturalmente al exterior a través de los rodajes cinematográficos, la productora de los hermanos Sáenz de Heredia recibe una oferta de colaboración con una empresa británica para rodar That Lady, adaptación de una novela de Kate O'Brien sobre la relación entre la Princesa de Éboli, Felipe II y Antonio Pérez. Lo que parecía ser un gran negocio empieza a encontrar una serie de dificultades al no encajar el enfoque histórico de la película con la ideología oficial del momento. Al final, la versión estrenada en España con el título La princesa de Éboli será una elaboración totalmente distinta a la que se verá internacionalmente. El estudio de la documentación concerniente a este asunto ofrece una visión original, y en cierto modo divertida, sobre los tópicos historiográficos del franquismo, así como de la problemática inherente al sistema de coproducción.
In 1953, when Franco's Spain is trying to break the cultural and political isolation of previous years opening its locations and studios for the shooting of foreign films, the company owned by the brothers Sáenz de Heredia receives an offer of collaboration from a British company to film an adaptation of a novel by Kate O'Brien about the relationship between the Princess of Eboli, Philip II and Antonio Pérez. What seemed to be a great business soon began to face a lot of troubles because the script did not fit the official historiography of the moment. The version finally released in Spain with the title La princesa de Éboli would be a totally different elaboration from what was seen abroad. The study of the preserved records on this affair provides an original, sometimes funny, view of the rigid historiographic clichés prevailing under the Franco regime as well as the conflictive side of the coproduction system.
In 1953, when Franco's Spain is trying to break the cultural and political isolation of previous years opening its locations and studios for the shooting of foreign films, the company owned by the brothers Sáenz de Heredia receives an offer of collaboration from a British company to film an adaptation of a novel by Kate O'Brien about the relationship between the Princess of Eboli, Philip II and Antonio Pérez. What seemed to be a great business soon began to face a lot of troubles because the script did not fit the official historiography of the moment. The version finally released in Spain with the title La princesa de Éboli would be a totally different elaboration from what was seen abroad. The study of the preserved records on this affair provides an original, sometimes funny, view of the rigid historiographic clichés prevailing under the Franco regime as well as the conflictive side of the coproduction system.
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Actas del Segundo Congreso Internacional de Historia y Cine organizado por el Instituto de Cultura y Tecnología Miguel de Unamuno y celebrado del 9 al 11 de septiembre de 2010 en la Universidad Carlos III de Madrid
Keywords
Cine, 1939-1975, Franquismo, Censura, Coproducción, Felipe II, Princesa de Éboli, O´Brien, Kate, Francoism, Censorship, Philip II, Princess of Eboli
Bibliographic citation
La biografía fílmica: actas del Segundo Congreso Internacional de Historia y Cine (2, 2010, Madrid)[cd-rom]. Gloria Camarero (ed.). Madrid: T&B editores, 2011, pp. 173-201