Emilio Fernández
Mexican film director and actor From Wikipedia, the free encyclopedia
Mexican film director and actor From Wikipedia, the free encyclopedia
Emilio "El Indio" Fernández Romo (Spanish: [eˈmiljo feɾˈnandes ˈromo]; 26 March 1904 – 6 August 1986) was a Mexican film director, actor and screenwriter. He was one of the most prolific film directors of the Golden Age of Mexican cinema in the 1940s and 1950s. He is best known for his work as director of the film María Candelaria (1944), which won the Palme d'Or award at the 1946 Cannes Film Festival.[1] As an actor, he worked in numerous film productions in Mexico and in Hollywood. He was the father of the Mexican actor Jaime Fernández.
Emilio Fernández | |
|---|---|
Emilio Fernández in the film The Soldiers of Pancho Villa (1959) | |
| Born | Emilio Fernández Romo 26 March 1904 |
| Died | 6 August 1986 (aged 82) Mexico City, Mexico |
| Years active | 1928–1986 |
| Spouse(s) | Gladys Fernández Columba Domínguez |
Born in Sabinas, Coahuila, on 26 March 1904, Emilio Fernández Romo was the son of a revolutionary general, while his mother was a descendant of Kickapoo natives. From his parents, he inherited Mexican customs and indigenous beliefs. When he was a teenager, a fatal event[clarification needed] forced him to flee his home and enlist in the ranks of the Mexican Revolution. Later, he entered the Mexican Military Academy (where in 1954, he gained the rank of colonel). In 1923, he took part in the uprising of Adolfo de la Huerta against the government of Álvaro Obregón, but this insurrection failed and he was sent to prison. He escaped and left Mexico to go into exile, first in Texas, then in Chicago, and later in Los Angeles. There he earned his living as a laundry employee, bartender, longshoreman, press assistant and finally as a stonemason for Hollywood studio construction, a circumstance that favored his foray into film as an extra and as a double for stars like Douglas Fairbanks.[2]
His initial career was encouraged by De la Huerta, who told him: Mexico does not want nor need more revolutions Emilio. You are in the Mecca of film, and film is the most effective tool we humans have invented to express ourselves. Learn to make movies and you return to our homeland with that knowledge. Make our films so you can express your ideas, so they reach thousands of people.[2] In 1930, he had an experience that significantly marked his career as a creator: his stay in the United States coincided with the arrival in the country of Sergei Eisenstein (Soviet film director). He went to private screenings of Eisenstein's films, which impressed him, revealing a style that was different from that used in Hollywood aesthetics. Three years later, he was influenced by seeing fragments of Que viva Mexico! (an Eisenstein film made in that country), which consolidated his desire to make films.
He returned to Mexico in 1933, thanks to an amnesty granted by the government, with the decision to continue his film career, but during the first year he made a living as a boxer, a diver in Acapulco, a baker and an aviator. In 1934, he appeared as a bandolero (robber) in the film Cruz Diablo, directed by Fernando de Fuentes. His looks also landed him a starring role playing a native in Janitzio by Carlos Navarro.
Fernández continued to perform melodramas and folklore films. In 1941, with the financial support of General Juan Francisco Azcárate and the encouragement of his friend, the actor David Silva (then a law student), he filmed La isla de la pasión (a.k.a. Passion Island) with which he made his directorial debut.
In 1943 he was contacted by the Mexican film Studios Films Mundiales. Emilio Fernández (director), Mauricio Magdaleno (writer), Gabriel Figueroa (photographer), Dolores del Río and Pedro Armendáriz (actors) formed the team that would go on to make Flor silvestre, the film that debuted Dolores del Río in the Mexican cinema. Then, Fernández filmed María Candelaria (1944), for which he was awarded the Palm d'Or at Cannes[1] along with Gabriel Figueroa.
In 1945, based on the history of American writer John Steinbeck (who adapted the screenplay in collaboration with him), Fernández filmed La Perla (a.k.a. The Pearl), an allegory about the limits of wickedness of man in his greed and desire for power. It won the award for Best Cinematography, and a mention for Best Film contribution to progress in the Venice Film Festival (1947). It also received the Silver Ariel (1948) for Best Picture, Directing, Male Performance and Photography; the award of the Hollywood Foreign Press Association (1949), and the award for Best Cinematography at the Festival of Madrid (1949).
He directed three films with María Félix: Enamorada (1946), Río Escondido (1948, winner of Best Cinematography in the Karlovy Vary in Czechoslovakia) and Maclovia (1948). His then wife Columba Domínguez starred in Pueblerina (1948). Fernández worked as co-producer on The Fugitive (1947), a Hollywood film made in Mexico by director John Ford, which also featured del Río and Armendáriz and was shot by Figueroa. In 1949, Salon Mexico won the award for Best Cinematography at the festival in Brussels, Belgium. He followed these in 1950 with urban films, Víctimas del Pecado, starring Ninón Sevilla, and Cuando levanta la niebla, with Columba Dominguez and Arturo de Córdova. In 1950, he made his only film in Hollywood The Torch, a remake of Enamorada starring Paulette Goddard.
Around the mid-1950s, Fernández returned to his role as actor. Although he did little directing in the 1960s, he had several roles as an actor, appearing in: The Soldiers of Pancho Villa (1959), La bandida (1962); The Night of the Iguana (1964, directed by John Huston, where he shared credits with Richard Burton and Ava Gardner); Return of the Seven (1966); The Appaloosa (1966, with Marlon Brando), among many others. His 1967 film A Faithful Soldier of Pancho Villa was entered into the 5th Moscow International Film Festival.[3] He also acted in three films directed by Sam Peckinpah: The Wild Bunch (1969), Pat Garrett and Billy the Kid (1973), and Bring Me the Head of Alfredo Garcia (1974).
During the last years of his life, he did not direct, although he continued to act. In the late 1970s he was imprisoned in Torreón after he was found guilty of the death of a farmer. He was released after 6 months probation. Missing weekly sign-ins, due to an accident, caused him to be imprisoned again. After finishing his prison sentence, he returned to his house in Coyoacan.
In early 1986, Emilio Fernández suffered a fall at his home in Acapulco, which caused a fracture of the femur. According to his daughter Adela, in the hospital he received a blood transfusion that was infected with malaria. Emilio Fernández died on 6 August 1986.[4]
His film legacy has been awarded with the Ariel Award, the Colón de Oro in Huelva, Spain, and with a chair in his name at the Moscow Film School. With photographer Gabriel Figueroa, writer Mauricio Magdaleno, and actors Pedro Armendáriz, Dolores del Río, María Félix and Columba Dominguez, Romo conducted various productions that promoted both national customs and the values associated with the Mexican Revolution.
Fernández directed 43 films between 1942 and 1979. Starting with Cielito Lindo (1936), he was recognized as a screenwriter on 40 films. He also worked as a second unit director on American films made in Mexico, including The Magnificent Seven (1960), when he was sent to the American crew by the Mexican film industry to guarantee that images of Mexicans were neither racist nor insulting. In 2002, La Perla (a.k.a. The Pearl) was added to the National Film Registry of the United States Library of Congress by the National Film Preservation Board as being "culturally, historically, or aesthetically significant".
On the 100th anniversary of El Indio's birth, Emilio Fernández and his colleague Gabriel Figueroa were recognized during the inaugural Puerto Vallarta Film Festival of the Americas, held in Puerto Vallarta, Mexico in November 2004.[5]
He was portrayed by Joaquín Cosio in the Mexican biographical film Cantinflas.
Fernández is rumored to be the model for the Oscar statuette, but this is not confirmed.[6] The legend suggested that MGM art director Cedric Gibbons, one of the original Motion Picture Academy members tasked with creating the Academy Award trophy, was introduced to Fernández by actress Dolores del Río and persuaded him to pose nude.[7]
Gladys Fernández, a 16-year-old Cuban girl, became his first wife in 1941. Their relationship was affected by Emilio's passion for Hollywood diva Dolores del Río and Gladys ended up leaving him. Emilio and Gladys had a daughter, the writer Adela Fernández y Fernández.
His most stable relationship was with the actress Columba Domínguez. They were together for seven years, but the relationship collapsed because Columba became pregnant, and he did not want more children. She decided to have the baby without his consent, they broke up. Their daughter, Jacaranda, died in 1978 after falling from the top of a building.
His marriage to Gloria De Valois Cabiedes produced another daughter, Xochitl Fernández De Valois.
Fernández was infatuated with the British-American actress Olivia de Havilland, whom he never met. Fernández asked the then-president of Mexico, Miguel Alemán, to extend a street in Coyoacán to his mansion, and to name it Dulce Olivia, 'Sweet Olivia'. Thus, he would always have her symbolically near, transformed into a street, and always at his feet.[8]
After the death of Fernández, a lawsuit broke out between his daughter Adela and Columba Domínguez. Adela had been named sole heir of her father and took possession of his house, a fortress in the neighborhood of Coyoacán in Mexico City, which Columba claimed as her own. According to Columba, Adela was not a biological daughter of Fernández, but was adopted by him when she was abandoned by her mother. Adela's death in 2013 left the legal situation unclear.[4]
The House-Fortress of Fernández, managed by his daughter Adela until her death in 2013, became a space dedicated to various cultural activities in Mexico City, and has served as a backdrop for filming over one hundred Mexican and foreign films.
| Year | Original title | English title | Production country | Language | Cast | Award nominations (Wins in bold) |
|---|---|---|---|---|---|---|
| 1941 | La isla de la pasión | The Island of the Passion | México | Spanish | Pedro Armendáriz, Isabela Corona | |
| 1942 | Soy puro mexicano | I'm a Real Mexican | Mexico | Spanish | Pedro Armendáriz, Andres Soler | |
| 1942 | Flor Silvestre | Wild Flower | México | Spanish | Dolores del Río, Pedro Armendáriz | |
| 1943 | María Candelaria (aka Xochimilco) | Portrait of Maria | Mexico | Spanish | Dolores del Río, Pedro Armendáriz | Cannes Film Festival – Palm d'Or |
| 1944 | Las Abandonadas | The Abandoned | Mexico | Spanish | Dolores del Río, Pedro Armendáriz | Ariel Award – Best Actress |
| 1944 | Bugambilia | Bugambilia | Mexico | Spanish | Dolores del Río, Pedro Armendáriz | |
| 1945 | La Perla | The Pearl | Mexico | Spanish | Pedro Armendáriz, María Elena Marqués | Venice Film Festival – Golden Lion Ariel Awards – Golden Ariel, Best Actor, Best Supporting Actor, Cinematography Golden Globe – Best Cinematography |
| 1946 | Pepita Jiménez | Mexico | Spanish | Ricardo Montalbán, Rosita Dáz Gimeno | ||
| 1946 | Enamorada | In Love | Mexico | Spanish | María Félix, Pedro Armendáriz | Ariel Award – Best Actress |
| 1947 | The Fugitive (producer) | The Fugitive | United States | English | Henry Fonda, Dolores del Río | |
| 1947 | Río Escondido | Hidden River | Mexico | Spanish | María Félix, Carlos López Moctezuma | Karlovy Vary International Film Festival – Best Photography |
| 1948 | Maclovia | Maclovia (aka Damn Beauty) | Mexico | Spanish | María Félix, Pedro Armendáriz | |
| 1948 | Pueblerina | Small Town Girl | Mexico | Spanish | Columba Dominguez, Roberto Cañedo | Cannes Film Festival – Official Selection Karlovy Vary International Film Festival – Best Photography |
| 1949 | La Malquerida | A Woman without Love | Mexico | Spanish | Dolores del Río, Pedro Armendáriz | |
| 1950 | Salón México | Mexico Lounge | Mexico | Spanish | Marga López, Miguel Inclan | Brussels Film Festival – Best Photography |
| 1950 | Duelo en las montañas | Duel in the Mountains | Mexico | Spanish | Rita Macedo, Roberto Cañedo | |
| 1950 | The Torch | United States | English | Paulette Goddard, Pedro Armendáriz | ||
| 1950 | Un día de vida | One Day of Life | Mexico | Spanish | Columba Domínguez, Roberto Cañedo | |
| 1951 | Vìctimas del Pecado | Victims of the Sin | Mexico | Spanish | Ninón Sevilla, Rodolfo Acosta | |
| 1951 | Maria Islands | Mexico | Spanish | Pedro Infante, Jaime Fernández | ||
| 1951 | La bienamada | The Beloved | Mexico | Spanish | Columba Domínguez, Roberto Cañedo | |
| 1952 | Siempre tuya | Forever Yours | Mexico | Spanish | Jorge Negrete, Gloria Marín | |
| 1952 | Acapulco | Mexico | Spanish | Elsa Aguirre, Miguel Torruco | ||
| 1952 | Cuando levanta la niebla | When the Fog Lifts | Mexico | Spanish | Columba Domínguez, Arturo de Córdova | |
| 1953 | La Red (aka Rossana) | The Red | Mexico | Spanish | Rossana Podestà, Armando Silvestre | Cannes Film Festival- Best Narration |
| 1953 | Reportaje | Report News | Mexico | Spanish | ||
| 1953 | El Rapto | The Rapture | Mexico | Spanish | María Félix, Jorge Negrete | |
| 1954 | La rosa blanca | The White Rose | Cuba/Mexico | Spanish | Jorge Mistral, Rebeca Iturbide | |
| 1955 | La Tierra del Fuego se apaga | Tierra del Fuego is off | Argentina | Spanish | Jorge Mistral, Bertha Moss | |
| 1958 | Una cita de amor | An appointment with love | Mexico | Spanish | Silvia Pinal, Jaime Fernández | 8th Berlin International Film Festival – Official Selection |
| 1962 | Pueblito | Little Town | Mexico | Spanish | Columba Domínguez, Lilia Prado | San Sebastián International Film Festival – Las perlas del Cantábrico |
| 1963 | Paloma herída | Wounded Dove | Mexico/Guatemala | Spanish | Patricia Conde, Columba Domínguez | |
| 1967 | Un Dorado de Pancho Villa | A Faithful Soldier of Pancho Villa | Mexico | Spanish | Emilio Fernández, Maricruz Olivier | 5th Moscow International Film Festival – Official Selection |
| 1969 | Un Crepúsculo de un dios | A Twilight of a God | Mexico | Spanish | Emilio Fernández, Guillermo Murray | |
| 1974 | La Choca | la Choca | Mexico | Spanish | Pilar Pellicer, Gregorio Casals | Ariel Award – Best Direction, Best Supporting Actress, Best Photography, Best Edition Karlovy Vary Film Festival – Best Direction |
| 1976 | Zona Roja | Red Zone | Mexico | Spanish | Fanny Cano, Armando Silvestre | |
| 1979 | México Norte | Mexico North | Mexico | Spanish | Patricia Reyes Spíndola, Roberto Cañedo | |
| 1979 | Erótica | Erotic | Mexico | Spanish | Jorge Rivero, Rebecca Silva |
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