Feelings, customs and nostalgia by master L. Vajda.
Bilbao, 50s. For seafaring family tradition is not broken, "El Viejo", an old sea wolf, forces his grandson "Luiso" to follow the profession of his ancestors as captain of the ship "María".
In 1960 saw the production in this argument Chamartín material to make an adventure film "with child" capable of doing good box office. I guess the school promotion text also influenced his mood. The truth is that the authors commissioned the preparation of a script that would take care of moving images bythe Hungarian master filmmaker Ladislao Vajda.
The film adaptation made 50 years ago of a text read-served basis subject to the "Formacíon del Espíritu Nacional", name Bilbao strolled around the world. This book was titled "Luiso", and became images with the title "María matrícula de Bilbao", shot in around Villa of Nervión with a wealth of technical resources and the extraordinary artistic director, Ladislado Vajda. There was not, however, one of his best titles.
"María matrícula de Bilbao", title given to the adaptation of "Luiso", was conceived as a blockbuster: Cinemascope, Eastmancolor, abundant outdoor shoots and a cast of leading figures with the inclusion of two exceptional performers: The French veteran Charles Vanel was 68 when the film came rolled backed by international fame gave "Le salaire of peur" (Henri-Georges Clouzot, 1953) and the radiant Nadia Gray who debuted in Spanish cinema after starring in one of the boldest scenes of "La dolce vita" (Federico Fellini, 1959).
Much of the exteriors were captured in the town of Bilbao, the estuary and the Open. Vajda, who filmed "Ronda Española" 1952, was already familiar with boats, installed a merchant ship on the opposite bank to the University of Deusto and ordered the interpreters: Alberto Closas, Arturo Fernandez, Carlos Casaravilla, Maria Rosa Salgado, Pepe Rubio, Antonio Ferrandis, Miguel Gila and newcomer Javier Asin together as "Luiso", in fact, the play's protagonist.
Can you imagine the viewer, the stir that was formed in 1960 in Bilbao around the filming this movie. It was precisely the presence of the security forces to keep distances to both curious as we were there.
Who stole the Closas was then at the height of his fame. Ferrandis had not yet played "Verano azul" (Antonio Mercero, 1981), and Asin was a perfect stranger.
The cameras focused on the boat, with its back to the "Campa de los ingleses" where offered a much sadder spectacle, the Bilbao of the slums at that point came to constitute an entire neighborhood within the city.
The house was a fictional shipping mansion district "Neguri" located far from those grimy wooden buildings and tin raised by Night in Abandoibarra brand today, while the interiors were built in Chamartín studies and Sevilla Films, Madrid. That is, a world of contrasts that time has erased that scenario becoming one of the most lustrous of Bilbao.
Chapter of special attention is the musical soundtrack of "Mary, enrollment Bilbao", by Paul Sorozábal, father and son. Sorozábal father lavished not much in the film. Recorded passing through "Jai Alai" (Ricardo Rodriguez Quintana, 1940) and, above all, "Marcelino pan y vino" (L. Vajda, 1954) where he made a great creation.
This time, the "apotheosis" comes at the end when the "Maria" began a new stage being "Luiso" in his crew. The boat passes under the suspension bridge while listening to a solemn orchestral "Boga boga" and out the word "End".
"María matrícula de Bilbao" tuition film premiered at the cine "Coliseum" in Madrid on November 17, 1960. Vajda did as "Captains Courageous" 1937, for children. A film where everyone is good and friendly and everyone will come together at the end.
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