Publication: Pequeñeces de Luis Coloma versus Pequeñeces de Juan de Orduña y la presencia de la moda. Repertorio deslumbrante de un bestiario aristocrático
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2017
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Abstract
Publicada en 1890, Pequeñeces del Padre Coloma supuso un enorme escándalo en su día pues
definió de manera brutal y grotesca la sociedad aristocrática de su tiempo a través de determinados
seres ficticios que bien pudieron ser especulares de otros auténticos del Madrid de la
Restauración. Ambientada durante el reinado de Amadeo de Saboya y escasos años antes de la
proclamación de Alfonso XII (1875); su estructura de folletín así como la presencia de unos
personajes que simbolizan la decadencia moral de los últimos decenios del Ochocientos, constituye
un mosaico alegórico con intención moralizadora.
Reivindicada en la actualidad por su vinculación con las fórmulas estéticas del esperpento que
años más tarde cultivará de manera suprema Ramón María del Valle-Inclán, Pequeñeces constituye
un repertorio fascinante de modas, costumbres, hábitos de la sociedad madrileña del
último tercio del siglo XIX. La descripción de ambientes, la alusión a tejidos o joyas, la narración
de fastos y acontecimientos sociales se alejan de las maneras naturalistas para adentrarse
casi en un manierismo modernista.
En 1950 Juan de Orduña adapta la obra del Padre Coloma Para ello contaría con especialistas
tales como el ambientador Sigfrido Burmann o el modisto Pedro Rodríguez; ellos construyeron
la estructura visual del filme y conocieron y estudiaron los figurines de La Moda Elegante
o de La Guirnalda o los grabados del palacio de los duques de Fernán-Núñez.
Published in 1890, "Pequeñeces" by Father Coloma caused a great scandal in its day as it defined the aristocratic society of the time in a brutal grotesque manner through certain fictional characters who could easily have reflected the real ones of the Madrid society during the "Restauration". Set during the reign of Amadeo de Saboya anda few years before the reign of Alfonso XII (1875), its pamphlet structure together with the presence of sorne characters who symbolised the moral decadency of the latter years of the 1800s constitutes an allegorical mosaic of moralising intent. Revindicated today due to its vinculation with a strange aesthetic formula which years later was cultivated in a supreme manner by Ramón María del Valle-Inclán, "Pequeñeces" constitutes a fascinating selection of fashion, customs and habits of the Madrid society in the last third of the nineteenth century. The description of ambience, the allusion to materials or jewels, the pompous social events narrated, shift from naturalist towards modernist ways. In 1950 Juan de Orduña adapts the work of Padre Coloma. He employed specialists such as the environmentalist Sigfrido Burmann or the fashion designer Pedro Rodriguez; they constructed the visual parts of the film and they knew and studied the figures of "The Elegant Fashion" or the "Guirnalda" or the records in the palace of the Duke and Duchess of Fernán Nuñez.
Published in 1890, "Pequeñeces" by Father Coloma caused a great scandal in its day as it defined the aristocratic society of the time in a brutal grotesque manner through certain fictional characters who could easily have reflected the real ones of the Madrid society during the "Restauration". Set during the reign of Amadeo de Saboya anda few years before the reign of Alfonso XII (1875), its pamphlet structure together with the presence of sorne characters who symbolised the moral decadency of the latter years of the 1800s constitutes an allegorical mosaic of moralising intent. Revindicated today due to its vinculation with a strange aesthetic formula which years later was cultivated in a supreme manner by Ramón María del Valle-Inclán, "Pequeñeces" constitutes a fascinating selection of fashion, customs and habits of the Madrid society in the last third of the nineteenth century. The description of ambience, the allusion to materials or jewels, the pompous social events narrated, shift from naturalist towards modernist ways. In 1950 Juan de Orduña adapts the work of Padre Coloma. He employed specialists such as the environmentalist Sigfrido Burmann or the fashion designer Pedro Rodriguez; they constructed the visual parts of the film and they knew and studied the figures of "The Elegant Fashion" or the "Guirnalda" or the records in the palace of the Duke and Duchess of Fernán Nuñez.
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, Luis Coloma, Juan de Orduña
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. 1305-1313