Juan de Orduña
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| Juan de Orduña | |
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| File:Juan de Orduña 1927.jpg
Juan de Orduña in 1927
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| Born | Juan de Orduña y Fernández-Shaw 27 December 1900 Madrid, Spain |
| Died | 3 February 1974 (age 73) Madrid, Spain |
Juan de Orduña y Fernández-Shaw (27 December 1900 – 3 February 1974) was a Spanish film director, screenwriter and actor. He particularly earned recognition for his epic-historicist films,[1] including the extravagant Madness for Love (1948), "an immense commercial success".[2]
Biography
Born in Madrid into a aristocratic family, he studied law. His artistic career as an actor began in the twenties, joining Emilio Thuillier's theater company. In the following years he took part in numerous silent plays. He participated as a leading actor in the first sound film of Spanish cinema, El misterio de la Puerta del Sol (1929). After the arrival of sound films, his presence in front of the camera became less frequent, although he would still participate in films with certain renown, such as Nobleza baturra (1935), by Florián Rey.
His career as a director stood out especially in the decade following the end of the Spanish Civil War, when he became one of the most prolific filmmakers of the time and also a favorite of the public.
In the first half of the forties he established himself as a more than adequate director of comedies to the taste of the time, such as Autumn Roses (1943), Tuvo la culpa Adán (1944), Ella, él y sus millones (1944) or Life Begins at Midnight (1944). In 1946 he was awarded the CEC Medal by the Circle of Cinematographic Writers.
The aesthetics and the taste for the grandiloquent interpretation of the history of Spain in the early years of Francisco Franco's goverment would soon take hold of the spirit of the cinema of the time and went on to determine to a large extent the profile of Orduña's films. Thus, he specialized in historical dramas that exalted the patriotic values of imperial Spain and enjoyed the public's favor. During this period he shot Madness for Love (1948), Agustina of Aragon (1950) — both with Aurora Bautista —, The Lioness of Castille (1951) or Dawn of America (1951).
The change in the tastes of the public would lead him throughout the fifties to a new turn in the theme of his films and he closed the decade shooting The Last Torch Song (1957), a successful vehicle for Sara Montiel's showcasing.
His last years were dedicated to filming zarzuelas, a genre that experienced a certain resurgence during the sixties.
Filmography
- Me has hecho perder el juicio (1973)
- Eusébio, la Pantera Negra (1973)
- El caserío (1972)
- El huésped del sevillano (1970)
- The Complete Idiot (1970)
- Bohemios (1969)
- La canción del olvido (1969)
- The Troublemaker (1969)
- Farewell to Marriage (1968)
- Maruxa (1968)
- Anónima de asesinos (1967)
- Abajo espera la muerte (1966)
- Aragonese Nobility (1965)
- Bochorno (1963)
- El amor de los amores (1962)
- Teresa de Jesús (1961)
- La tirana (1958)
- Música de ayer (1958)
- The Last Torch Song (1957)
- Father Cigarette (1955)
- Zalacaín el aventurero (1955)
- Cañas y barro (1954)
- Dawn of America (1951)
- The Lioness of Castille (1951)
- Agustina of Aragon (1950)
- Pequeñeces (1950)
- Tempestad en el alma (1949)
- Vendaval (1949)
- Mi enemigo el doctor (1948)
- Madness for Love (1948)
- Lola Leaves for the Ports (1947)
- Serenata española (1947)
- Un drama nuevo (1946)
- Leyenda de feria (1946)
- White Mission (1946)
- Ella, él y sus millones (1944)
- Life Begins at Midnight (1944)
- Yo no me caso (1944)
- Tuvo la culpa Adán (1944)
- Deliciosamente tontos (1943)
- Autumn Roses (1943)
- Nostalgia (1942)
- El frente de los suspiros (1942)
- Follow the Legion (1942)
- Porque te vi llorar (1941)
- Suite granadina (1940)
- Feria en Sevilla (1940)
- Una aventura de cine (1928)
- The Troublemaker (1924)
References
Further reading
- Juan-Navarro, Santiago. "De los orígenes del Estado español al Nuevo Estado: La construcción de la ideología franquista en Alba de América, de Juan de Orduña." Anales de la Literatura Española Contemporánea 33.1 (2008): 79–104. [1]
- Juan-Navarro, Santiago. "La Patria enajenada: Locura de Amor, de Juan de Orduña, como alegoría nacional." Hispania 88.1 (2005): 204–15. [2]
- Juan-Navarro, Santiago. "Political Madness: Juan de Orduña's Locura de amor as a National Allegory." Juana of Castile: History and Myth of the Mad Queen. Eds. María A. Gómez et al. Lewisburg and London: Bucknell University Press, 2008. [3]
