Rarely Macondo was a movie set. And when I was, rarely had that aura of magic and carefully fused everyday that flowed from the pages of books. Match all character in the film of the ingenious novels and stories by Gabriel García Márquez but while there is widespread agreement, critics and audiences, in that none of the numerous adaptations never got that strange feeling of naturalness and credibility with a fact producing absolutely fantastic reading. Perhaps the key is that, from the words, could stimulate the reader's imagination to a point where every brain elaborated its own graphical version of the narrative, causing the rejection of any proposed representation. Countless I were the offers that came to García Márquez to convert film Hundred Years of Solitude, and probably aware of the failure to put in two or three hours of film his most dazzling novel, always said "no" to these daring filmmakers who wanted do it. However, the list of adaptations of his other novels and stories is long. Of all probably placed above, thanks to its proximity to the narrative spirit, Colonel no one writes (Arturo Ripstein, 1999), a story set in Macondo, that nonexistent people stands as one of the best known Latin America.Even the most ambitious blockbusters, with renowned actors and directors in its lineup, managed to capture the magic realism in images. He did Chronicle of a Death Foretold (Francesco Rosi, 1987), with Rupert Everett, Ornella Muti, Lucia Bosé and Irene Papas, nor sophisticated Love in the Time of Cholera (Mike Newell, 2007), Javier Bardem embodying Florentino Ariza, a kind of poor Latin Gatsby. The Widow of Montiel (Miguel Littin, 1979), Erendira (Ruy Guerra, 1983), A Very Old Man with Enormous Wings (1988) and the more recent Memories of My Melancholy Whores (Henning Carlsen, 2011) are among the many but unhappy adaptations of his novels and stories.García Márquez himself was man of cinema. Not only as a generous patron, creating in Cuba in 1986 with money from his own pocket, the Foundation of New Latin American Cinema and Film School of San Antonio de los Baños, which has given opportunity to become young American filmmakers, but also as a writer and film critic in the early days of journalistic life.Even as an actor was seen doing a small role in the Mexican film in this town there are no thieves (Alberto Isaac, 1965), the first film adaptation of one of his stories. His prolific activity as a screenwriter for film would highlight The Golden Cockerel (1964), adapted from a story by Juan Rulfo written by him, and Roberto Carlos Fuentes Gavaldón, director of the film; Time to Die (1966), the first film of Arturo Ripstein, written for four hands again with Carlos Fuentes; The year of the plague (Felipe Cazals, 1979) and his own adaptation of the Greek classic theatrical Oedipus Mayor (Jorge Alí Triana, 1996). He was also very active in the six episodes based on his tales of series A difficult tumors (1988), devised by TVE.Your first link is to the seventh art criticism. After the college closed bogotazo that the Colombian capital in 1948, a very young García Márquez was forced to settle in Cartagena University to continue his studies but never graduated and began his journalism there in the newspaper El Universal. Later in the newspaper El Heraldo de Barranquilla began writing his column under the pseudonym Giraffe Septimus in texts in which he frequently addressed the cinema. However, it was in 1954, since joining the drafting of national Bogotá -based newspaper El Espectador, when it became the first film columnist of journalism in Colombia. His criticisms, more analytical than qualifying, revealed what his film interests, writing passionately about films of Italian neorealism and showing preference for European productions. Welcome Mr. Marshall, Berlanga, wrote a memorable review.Never shot a feature film. Very beginning, perhaps aspiring to be a filmmaker, was placed behind the camera for the short The Blue Lobster (1954) but soon gave up the idea. However, this task has practiced with remarkable sensitivity, his son Rodrigo García, author of the remarkable Things You Can Tell Just Looking at Her (2000).Come, surely, many more films based on his stories and novels. The challenge of capturing on film with authenticity that magical realism is the key to access to rural and fantastic universe of almost all his stories is pending. Although less prolific, the world of theater and Latin dance have also tried to approach; perhaps highlights the choreography Remedios the Beauty of Costa Rican Marcela Aguilar, in the eighties, and the spectacular stage adaptation of The Colonel No One Writes by Carlos Giménez and Rajatabla group in Caracas in 1989.
Tags: film, Gabriel, García, half, Márquez