SAUTET DIRECTORS, 4 EDItION their adult years. In a number of movies, we witness the efforts of dance, and melodrama in telling the story of a pair of gypsies wh Saura's adult protagonists to resurrect their past memories in order to have been promised to each other by their respective families; as thei come to terms with them once and for all. In the course of their wedding approaches, each becomes involved in other romances recollections, we see the negative effects not only of the war, but also Despite an occasional foray into what for Saura is un of the repressive system of education and of the confining family territory-Dispara! is a cliched, unconvincing psychological drama structures that were consolidated by the triumph of franco in the about a rape victim who murders her attackers-the filmmaker has postwar period continued creating highly political films which explore facets of Until Francos death in 1975, it was not possible to express this recent Spanish history, and non-narrative cinematic essays which viewpoint openly Films were censored first at the script stage and celebrate Spanish culture. In the former category is Ay, Carmela!, again upon completion. Nothing controversial was allowed. Even in a pointed yet endearing, extremely entertaining farce in which Car- the 1960s, a period of liberalization when some experimentation was men Maura has one of her best roles in a film not directed by Pedro allowed and the New Spanish Cinema movement was born, Saura and Almodovar. She plays an entertainer who brings diversion to the the other young directors associated with this movement walked partisans during the Spanish Civil War, and who ends up caught a delicate and difficult line, trying to convey their ideas while behind enemy lines with her husband and their assistant. The film avoiding the hurdles imposed by the censor works best as a comic reminiscence of what it means to be politically It was in this atmosphere that Saura developed his cinematic style and morally correct, yet still be on the losing side of a conflict. and method of working. In order to deal with taboo subjects, he(and Flamenco is a loving, exquisitely detailed ode to flamenco music, the other young directors of that time)resorted to tactics of allusion, consisting of lively performances by an array of talented singers, association, and allegory. In one of Saura's first movies, The Hunt, dancers, and guitarists of all ages. Flamenco is a film that Gene kelly a hunting party arranged by four former comrades-in-arms under would love; it leaves audience members clapping after each number franco is used to represent the legacy of the Civil War and the moral entranced by the joy and energy put forth by the performers, the best ankruptcy it has engendered. In other movies, Saura destroys the of whom are nothing short of dazzling. There are no English subtitles chronological sequence of events in order to show the impact of the in Flamenco none are needed past and its continued importance in explaining the present. Actions and events taking place in the present often recall or evoke corre- sponding past moments, and Saura's protagonists come to exist in -Katherine Singer Kovacs, updated by rob edelman several temporal dimensions simultaneously. We participate in their memories, dreams and visions as saura creates a fluid movement from present to past and in and out of dreams. what is original about these shifts in time and perspective is that Saura dispenses with the SAUTET Claude dissolves and soft-focus shots usually used to effectuate a time change in films. In his movies, present and past, reality and fantasy are Nationality: French. Born: Montrouge, Paris, 23 February 1924 deliberately fused together. Dream figures seem to be as palpable and Education: Ecole des Arts Decoratif, entered IDHEC, 1948. Career: as concrete as any of the""actors on screen. The audience learns Music critic for newspaper Combat, late 1940s: assistant director to distinguish them through a series of narrative clues, changes in Pierre Montazel, Gut Lefranc, Georges Franju, and Jacques Becker, lothing, and the actors voices and facial expressions 1950s; also TV producer; directed first feature, Classe tous risques. This method places substantial demands upon the actors with 1960. Died: Of liver cancer in Paris, 22 July 2000 whom Saura works closely. He has often used the same actors in several movies. Saura has also worked with the same producer and for most of ps explain the significant Films as Director and Scriptwriter continuity of his films. Sometimes images or sequences from one movie recur in later ones. As Saura himself has said, ""Every film is of the film before .' 1951 Nous n'irons plus au bois(short) Every film is also a consequence of the particular political and 1956 Bonjour sourire(d only) social climate prevailing in Spain. With the death of franco and the 960 Classe tous risques(The Big Risk subsequent abolition of film censorship that resulted from restoration 1965 LArme a gauche( Guns for the Dictator) of democratic rule, Saura moved away from the complex, nonlinear 1970 Les Choses de la vie(The Things of Life) narrative forms he had cultivated under franco and began to make 1971 Mar et les ferrailleurs simpler, almost documentary-like movies. One of these, which dealt 1972 Cesar et Rosalie(Cesar and Rosalie with juvenile delinquents in Madrid, was shot with nonprofessional 1974 Vincent, Frangois, Paul.et les autres actors from the slums of the capital (De prisa, de prisa). Two others 1976 Mado are filmed versions of flamenco ballets that are based upon well 1978 Une Histoire simple known literary works(Bodas de sangre and Carmen). In these as in 1980 Un Mauvais Fils(A Bad Son) other movies which contain references to Spanish plays, poems, and 1983 Garcon aintings, Saura affirms his ties to Spanish cultural traditions and 1988 Quelques Jours avec moi shows their relevance to the Spain of today 1992 Un Coeur en Hiver(A Heart in Winter)(co-sc) brujo is the third of Sauras"Spanish folk films 1995 Nelly Monsieur Arnaud (Nelly Mr. Arnaud)(co-sc): Les following Bodas de sangre and Carmen. In it, he combines music, Enfants de lumiereSAUTET DIRECTORS, 4th EDITION 866 their adult years. In a number of movies, we witness the efforts of Saura’s adult protagonists to resurrect their past memories in order to come to terms with them once and for all. In the course of their recollections, we see the negative effects not only of the war, but also of the repressive system of education and of the confining family structures that were consolidated by the triumph of Franco in the postwar period. Until Franco’s death in 1975, it was not possible to express this viewpoint openly. Films were censored first at the script stage and again upon completion. Nothing controversial was allowed. Even in the 1960s, a period of liberalization when some experimentation was allowed and the New Spanish Cinema movement was born, Saura and the other young directors associated with this movement walked a delicate and difficult line, trying to convey their ideas while avoiding the hurdles imposed by the censor. It was in this atmosphere that Saura developed his cinematic style and method of working. In order to deal with taboo subjects, he (and the other young directors of that time) resorted to tactics of allusion, association, and allegory. In one of Saura’s first movies, The Hunt, a hunting party arranged by four former comrades-in-arms under Franco is used to represent the legacy of the Civil War and the moral bankruptcy it has engendered. In other movies, Saura destroys the chronological sequence of events in order to show the impact of the past and its continued importance in explaining the present. Actions and events taking place in the present often recall or evoke corre￾sponding past moments, and Saura’s protagonists come to exist in several temporal dimensions simultaneously. We participate in their memories, dreams, and visions as Saura creates a fluid movement from present to past and in and out of dreams. What is original about these shifts in time and perspective is that Saura dispenses with the dissolves and soft-focus shots usually used to effectuate a time change in films. In his movies, present and past, reality and fantasy are deliberately fused together. Dream figures seem to be as palpable and as concrete as any of the ‘‘real’’ actors on screen. The audience learns to distinguish them through a series of narrative clues, changes in clothing, and the actors’ voices and facial expressions. This method places substantial demands upon the actors with whom Saura works closely. He has often used the same actors in several movies. Saura has also worked with the same producer and crew for most of his career, which helps explain the significant continuity of his films. Sometimes images or sequences from one movie recur in later ones. As Saura himself has said, ‘‘Every film is a consequence of the film before.’’ Every film is also a consequence of the particular political and social climate prevailing in Spain. With the death of Franco and the subsequent abolition of film censorship that resulted from restoration of democratic rule, Saura moved away from the complex, nonlinear narrative forms he had cultivated under Franco and began to make simpler, almost documentary-like movies. One of these, which dealt with juvenile delinquents in Madrid, was shot with nonprofessional actors from the slums of the capital (De prisa, de prisa). Two others are filmed versions of flamenco ballets that are based upon well￾known literary works (Bodas de sangre and Carmen). In these as in other movies which contain references to Spanish plays, poems, and paintings, Saura affirms his ties to Spanish cultural traditions and shows their relevance to the Spain of today. El amor brujo is the third of Saura’s ‘‘Spanish folk films,’’ following Bodas de sangre and Carmen. In it, he combines music, dance, and melodrama in telling the story of a pair of gypsies who have been promised to each other by their respective families; as their wedding approaches, each becomes involved in other romances. Despite an occasional foray into what for Saura is unusual territory—Dispara! is a clichéd, unconvincing psychological drama about a rape victim who murders her attackers—the filmmaker has continued creating highly political films which explore facets of recent Spanish history, and non-narrative cinematic essays which celebrate Spanish culture. In the former category is Ay, Carmela!, a pointed yet endearing, extremely entertaining farce in which Car￾men Maura has one of her best roles in a film not directed by Pedro Almodovar. She plays an entertainer who brings diversion to the partisans during the Spanish Civil War, and who ends up caught behind enemy lines with her husband and their assistant. The film works best as a comic reminiscence of what it means to be politically and morally correct, yet still be on the losing side of a conflict. Flamenco is a loving, exquisitely detailed ode to flamenco music, consisting of lively performances by an array of talented singers, dancers, and guitarists of all ages. Flamenco is a film that Gene Kelly would love; it leaves audience members clapping after each number, entranced by the joy and energy put forth by the performers, the best of whom are nothing short of dazzling. There are no English subtitles in Flamenco. None are needed. —Katherine Singer Kovács, updated by Rob Edelman SAUTET, Claude Nationality: French. Born: Montrouge, Paris, 23 February 1924. Education: Ecole des Arts Decoratif, entered IDHEC, 1948. Career: Music critic for newspaper Combat, late 1940s; assistant director to Pierre Montazel, Gut Lefranc, Georges Franju, and Jacques Becker, 1950s; also TV producer; directed first feature, Classe tous risques, 1960. Died: Of liver cancer in Paris, 22 July 2000. Films as Director and Scriptwriter: 1951 Nous n’irons plus au bois (short) 1956 Bonjour sourire (d only) 1960 Classe tous risques (The Big Risk) 1965 L’Arme à gauche (Guns for the Dictator) 1970 Les Choses de la vie (The Things of Life) 1971 Max et les ferrailleurs 1972 César et Rosalie (Cesar and Rosalie) 1974 Vincent, François, Paul . . . et les autres 1976 Mado 1978 Une Histoire simple 1980 Un Mauvais Fils (A Bad Son) 1983 Garçon 1988 Quelques Jours avec moi 1992 Un Coeur en Hiver (A Heart in Winter) (co-sc) 1995 Nelly & Monsieur Arnaud (Nelly & Mr. Arnaud) (co-sc); Les Enfants de Lumière