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00:07Federico García Lorca
00:58Federico García Lorca
01:28Federico García Lorca
01:57Federico García Lorca
02:26Federico García Lorca
02:58Federico García Lorca
03:29Federico García Lorca
03:46Thank you!
04:19This is my cousin, as the gypsies say, my cousin Rafael Alberti, that is, my friend.
04:28An Andalusian from the port of Santa María who was going to be a painter and now wants to be a poet.
04:33When we met a few months ago, last year, I commissioned a painting from him.
04:37A promise is a promise. Here it is.
04:42Yours is the last painting by Rafael Alberti, who would never paint again.
04:48That's a small-time truth, as I say. In other words, a lie.
04:51Well, in this case, pious.
04:57Thank you so much, cousin. It's wonderful. I'm thrilled.
05:03And you even dedicated it to me.
05:05To Federico García Lorca, this image of the south at the inauguration of our friendship.
05:12Rafael Alberti, 1924.
05:16Thank you.
05:21Come on, help me. Let's put it on...
05:24There.
05:31At the head of my bed.
05:42How are you?
05:44That's fine. Now we need another nail, right?
05:47Another nail in the coffin?
05:49Then we'll have to wait for better times.
05:55And you, cousin, what are you doing now?
05:59Conspire.
06:00Everyone is conspiring.
06:01Against the military, censorship, exile, and all this nonsense.
06:06To conspire for better times to come.
06:09It is not enough to wait for them to come.
06:11As Marx said.
06:15And you?
06:16Nothing at the moment.
06:18My things are at a standstill.
06:21Bárcena has lost her voice.
06:23And the theater is closed.
06:25Don Gregorio Martínez Sierra eludes me.
06:27It's definitely out of my control.
06:29What are you going to do?
06:33Don Gregorio also tells me about the fear he feels when portraying my Mariana Pineda.
06:37Whose theme is freedom.
06:38Especially now that there isn't one in Spain.
06:41She says it could be taken as a provocation.
06:43And that was never my intention.
06:45Why don't you cast actresses in the play?
06:47María Guerrero, the Sirgu...
06:49Yes, man.
06:50And they're going to do it because of my pretty face.
06:52We'll have to wait.
06:55And that's what worries me.
06:57I am already 27 years old and I still depend on my father.
07:00I have to do something.
07:02Private lessons, exam preparation...
07:05Competitive exams?
07:06Come on, cousin.
07:07Go on vacation.
07:09What do you think the suitcase is for?
07:10I go to each one that is.
07:39Hello.
07:40Hello.
07:48They are waiting for us.
07:50I'm coming, Salvador.
07:51But I need to look at it calmly.
07:53Then you look at everything.
07:55Yeah.
07:57Good day.
07:57Good day.
08:02Federico?
08:03Hello.
08:05Ana María.
08:06Federico.
08:07Hello.
08:08Hello.
08:09How are you?
08:09Federico.
08:09Hello.
08:12I'm delighted to connect them.
08:14And I hope that my being here does not continue to be a burden for you, but rather a continuous reason for joy.
08:23Do you know Catalan?
08:25Well, it took me a whole night to memorize what I said.
08:30But after seeing what I'm seeing, I'm dying to learn it.
08:35Repeat it again, young man.
08:37Please.
08:37It sounded real to me.
08:39My carriage mate had a splendid accent.
08:44How are you?
08:45Am I going there?
08:46I'm delighted to connect them.
08:49And I hope my stay here doesn't become a burden.
09:31Federico finished the first version of Mariana Pineda in the last days of 1923.
09:38He corrected and polished it throughout the year 24, despite working simultaneously on other projects.
09:46Mariana, I am freedom because love willed it.
09:51Pedro, the freedom for which you left me.
09:56I am freedom wounded by men.
10:00Love, love, love and eternal loneliness.
10:10A lively and solemn ringing of bells fills the scene.
10:15And a distant children's choir begins the romance.
10:21Mariana leaves slowly, leaning on Sister Carmen.
10:25All the nuns are kneeling.
10:27A wonderful and delirious light.
10:34In the background, the children are singing.
10:40Oh, what a sad day in Granada, it made even the stones weep.
10:48Seeing Marianita die on the scaffold for not testifying.
10:59Slow curtain.
11:03Slow curtain.
11:08Very good.
11:09Very good, very good.
11:13Thank you.
11:14Thank you so much.
11:15Thank you.
11:27Thank you.
11:28Thank you.
11:28Thank you.
11:51Thank you.
11:52Thank you.
11:57Thank you.
12:03The days Federico spends in Cadaqués, in the company of Dalí, make him forget everything.
12:08that which worries him.
12:11The small white village, the constant murmur of the sea, the light, Ana María's sweetness, the
12:18earned the admiration of her father, the dining room window overlooking the beach, the beachgoers, the
12:24Salvador's constant presence by his side.
12:28Nothing that had been left unfinished in that other world to which he had to return disturbs
12:33not the slightest bit of the great happiness he enjoys in that place on the Catalan coast.
12:52Thank you.
13:12Savior!
13:14Savior!
13:15Savior!
13:15What's wrong?
13:17Come.
13:18Federico is very ill.
13:20I think he's dead.
13:21Runs!
13:24Runs!
13:30Runs!
13:31Goes!
13:33Come.
13:43Don't move, Federico, I'm going to draw you.
13:46Don't move, okay?
13:47I'm going to get my things, it'll only take a moment.
13:50He does this very often at the residence.
13:53Then he'll burst out laughing like a madman; he likes it.
13:59You scared me.
14:01Why did you have to do it?
14:05Because I don't want to leave here.
14:08And in a few days I'll have to leave.
14:12I get nervous.
14:14I have a terrible urge to die.
14:18And then I die.
14:25You're putting me in a cramped coffin.
14:31And through the bumpy, cobblestone streets of Cadaqués you take me to be buried.
14:43I'm starting to lose my mind.
15:00Come on, play dead again.
15:02And don't move.
15:15In the summer of 1925, the García Lorca family was already settled in the orchard of San Vicente.
15:22A country house in the outskirts of Granada that Don Federico had just bought.
15:28From now on, the García Lorca family will traditionally spend their summers in the orchard.
15:35For Federico, the wonderful days of Holy Week in Cadaqués are long over.
15:44On his way to Madrid, returning from the coast, Federico stopped in Barcelona where he made contact with the artistic scene of
15:51the big city.
15:53Upon arriving in Madrid, he rediscovered the old problems he had left behind.
15:58Some, among the best actresses in the country, had rejected the role of Mariana Pineda.
16:03His artistic life was stagnant.
16:06He had to make himself known to the public.
16:09Only commercial success can free him from his father's financial dependence.
16:14dependence that hurts him and clips his wings.
16:20Other friends are trying to make their way outside of Spain.
16:29Buñuel, one of them, had already left the residence and in Paris he dedicated himself entirely to cinema.
16:39After the exhibition held at the Crystal Palace in Madrid, where several of his works were displayed,
16:45Dalí's career is advancing by leaps and bounds.
16:50Lorca, who had dreamed of traveling and seeing the world, had to return to his family environment in Granada.
16:57where he writes letters, makes poetry, and waits for the solution to his problems.
17:02He waits in vain for news from Dalí, who has promised to meet with him.
17:07His bitterness is evident in every letter that comes out of his hands.
17:12I'm currently without any projects, and yet I'm working intensely.
17:17But I have no faith in what I do.
17:19If I had it, I could, among other things, go to Italy, which is my dream.
17:23And I can't because my parents are angry and, of course, there's no money to travel.
17:28I'm having a murky and melancholic summer.
17:32I am going through one of the worst crises I have ever had.
17:36My literary work and my sentimental work are falling apart.
17:41I don't believe in anyone. I don't like anyone.
17:50Dolores, is there a letter for me?
17:52There's nothing about Mr. Dalí, young man. I already told you I'd be on top of it.
17:57There is nothing by Mr. Dalí.
18:00There is nothing by Mr. Dalí.
18:12There is nothing by Mr. Dalí.
18:29Do you want to go down for dinner?
18:30No.
18:32I'm fine here.
18:34Is there anything left to drink?
18:44Thank you.
18:47Are you still telling me things about Paris?
18:50That's where the future lies.
18:52The best of the best move in Paris.
18:54And when we think we've invented something new,
18:57They were already doing it five years earlier.
19:00I was with Buñuel, with your friend Manolo Ángeles Ortiz,
19:04with Borges and with Picasso.
19:08When I went to see him at his studio, I told him,
19:10I came to see him before visiting the Louvre Museum.
19:13He replied, "You did very well."
19:18Are you leaving for good?
19:21Yes, I feel the need to get away from here.
19:24I've thought about it.
19:26When I take the exam, I will declare the court that judges me incompetent.
19:30I'll make such a scene that no one will easily forget me.
19:35After that, I will work for a year in Figueras.
19:37And from there I will convince my father to let me continue my studies in Paris.
19:42You've thought it all through.
19:44And what are you going to do?
19:46I will become a teacher.
19:47Of literature.
19:48Be serious.
19:50I'm serious.
19:52Everything I dreamed of.
19:54Everything I believed in.
19:56It doesn't mean much to me anymore.
19:59Because?
20:04Because?
20:05Why, Federico?
20:09I've suddenly grown old.
20:11The things that interest me elude me.
20:15I can't retain anything.
20:17The ode you wrote for me?
20:18That?
20:19I liked it.
20:21I felt important because you, who are the best poet in this country,
20:25you would think I was important.
20:28I don't think you're important.
20:30I think you're unique.
20:33Do you remember?
20:35But above all, I sing of a common thought.
20:37that unites us in the dark and golden hours.
20:41Art is not the light that blinds our eyes.
20:46Which comes first: love, friendship, or fencing?
20:53You're not going to be a teacher of anything.
20:56If Sirgut premieres, I'll do the sets for you.
20:59You will come with me to Cadaqués and we will work together.
21:02Will we go to the Barcelona premiere and see if we like it?
21:05We will make a statement to the press calling the critics rotten and bastards.
21:13Will we be together in Cadaqués?
21:15Sure, of course.
21:17We will work on Mariana's sets, because we have to save her.
21:21About what?
21:24Well, now that it's about to premiere, it scares me.
21:29Three years ago I liked the idea of making a romantic drama.
21:33Now I see it as separate from my work.
21:37I don't know.
21:38There's nothing to save.
21:40We must understand her and serve her.
21:43Only I can make those decorations for you.
21:46You have to let yourself go.
21:48Let yourself go.
21:57Cadaqués, at the crossroads of water and hill,
22:00It has staircases and hides seashells.
22:07Wooden flutes calm the air.
22:11An old wild god gives fruit to the children.
22:17On March 31, 1927,
22:20at the Fontalba Theatre in Madrid,
22:22I read Mariana Pineda,
22:23to the company of Margarita Xirgu
22:25and a group of mutual friends.
22:27Among others, Melchor Fernández Almagro,
22:29Cipriano Rivas Cherif
22:30and Manuel Azaña,
22:31who at the time was president of the Madrid Athenaeum.
22:36Hello, Mr. Manuel.
22:37Turn it on, please.
22:38No, no, no.
22:39I'll stay right there. Thank you.
22:40I would have liked Don Manuel Azaña
22:42She will sit next to me during the reading.
22:44But since he arrived late,
22:46There was no way to convince him
22:47and listened to the entire performance a little apart from everyone else,
22:50sitting on a pile of slats.
22:52I am freedom wounded by men.
22:57Love, love, love
23:00and eternal solitudes.
23:04A lively and solemn peal of bells fills the scene
23:08and a children's choir begins,
23:11distant, the romance.
23:15Margarita Shirbu.
23:17No one will ever know what a great collaborator Margarita has been to me.
23:21At the end of the play,
23:22when they refer to Mariana Pineda
23:24that the gallows will be his end,
23:26Margarita will express such strange feelings
23:28that make one doubt
23:30whether Mariana Pineda still exists in the world.
23:32I am freedom because love willed it so.
23:37Peter,
23:38the freedom for which you left me.
23:42I am freedom wounded by men.
23:45love, love, love
23:52and eternal solitudes.
24:07Mariana Pineda had premiered in Barcelona
24:10St. John's Eve, 1927
24:12at the Goya Theatre.
24:15The same company as Margarita Shirbu
24:17She is performing it for the first time in Madrid.
24:19at the Fontalba Theatre
24:20four months later.
24:29V galo!
24:31V galo!
24:33V galo!
24:44V galo!
25:07In December 1927, and on the occasion of the anniversary of that year
25:12the tercentenary of the birth of our classical poet Góngora,
25:17The Ateneo of Seville has invited seven young contemporary poets
25:21to talk about Góngora, about poetry, and about his own work.
25:27And there they go.
25:31Rafael Alberti, Gerardo Diego,
25:39Juan Chabás, Damaso Alonso, Jorge Guillén, José Bergamín and Federico García Lorca.
25:48They are the seven of fame, the seven of '27.
25:53Only Pedro Salinas and Vicente Alexandre are missing, as they were unable to come.
25:58Later, in Seville, a few more poets will join them.
26:02The idea for this trip, and the money to make it happen,
26:06They have come from this man, a true patron,
26:09Ignacio Sánchez Mejías, bullfighter.
26:13He left bullfighting in 1922, at the height of his fame,
26:17and returned to bullfighting two years later,
26:19because he was dying of sadness away from the party, as he himself said.
26:25Brother-in-law of Joselito, the rooster,
26:26He is now romantically involved with the Argentinian girl.
26:30Ignacio is a wonderfully lively man,
26:32interested in everything,
26:34the flamenco song, the gypsy dance,
26:36theater, literature.
26:38He has acted in a film,
26:40And next year he will premiere a play in Madrid.
26:43Rafael Alberti, Federico García Lorca, Juan Chabás,
26:48The poets, the seven famous poets,
26:51They gave two recitals at the Ateneo of Seville,
26:54in which a good number of local poets also participated.
26:58Among others, Luis Cernuda, Fernando Villalón,
27:02Lafonco Llantes, Adriano del Valle,
27:04and Joaquín Romero Murube.
27:14The words that veil the secret pleasure
27:16And the virgin lip doesn't know it.
27:18Sleep, enraptured and indolent,
27:21He is bound amidst his own mists,
27:24refusing to die,
27:25and only fleeting beauty fits beneath the brow.
27:33Let's all go to Bailén,
27:36that the French have taken over,
27:38Virgin of Consolation,
27:40of the patron saint of the country folk,
27:42Virgin of the Marshlanders,
27:44the one with the little black face.
27:48They wanted to adjust the ring so much...
27:51More than a cultural event,
27:52Those two recitals were,
27:54As Rafael Alberti said,
27:55a bullfight,
27:57a head-to-head between the brilliant crowd
27:59that he comes from Madrid
28:00and the Andalusian poets of here and now.
28:03A unicorn bride, naked,
28:05long pride and shine on his forehead,
28:08the sword always to the north,
28:10sparks the four hooves and the manes
28:12of a thousand electric tongues,
28:15blind heartbroken...
28:16What a great poet, Rafael, huh.
28:18Yes, I certainly believe it, it's truly extraordinary.
28:20He entered declaring war
28:22to the eurythmic gardens of the nymphs,
28:24that escapes in trees grew transformed.
28:29Fleeting monster,
28:30horror of my life,
28:32ray without light,
28:33Oh you, my spring,
28:35my ferocious vermin,
28:36my strong archangel,
28:38towards a somber gift
28:39It invites me, unfurled and astral,
28:42your hair.
28:43Love, love,
28:45beginning of death.
28:46Very good.
28:51I was thinking about the sharp and slender trainera,
28:53that she alone blackens with her needle
28:55through the Ventolina Blue Regatta,
28:58when the rhythm is drawn in the torsos
29:01and the blades open and close their flight paths
29:05and the voice of the boss to Inca and pushes.
29:08Seeing how slowly it is being lost,
29:12calming its end, so much beauty,
29:14blessed to be worth more the more it burns
29:16under the sunsets
29:17even the tenacious green of the fir trees
29:20and the slow retreat of the afternoon is hurried.
29:26Jorge Guillén's verses have been applauded.
29:30as if they were excellent Veronicas.
29:35Ladies and gentlemen,
29:37Federico García Lorca.
29:59Romance of the Black Sorrow.
30:11The roosters' beaks
30:13They were searching for the dawn
30:15when through the dark mountain
30:17Soledad Montoya is low.
30:26Oh, the pity of the gypsies!
30:29Clean and always alone sorrow
30:32Oh, sorrow of hidden course
30:35and distant dawn!
30:37The enthusiasm reached its peak
30:40when Federico recited his gypsy romances.
30:42There were handkerchiefs waving
30:44as in the round tasks,
30:46flowers in the air.
30:47Adriano del Valle took to the stage
30:49and threw his jacket at Federico,
30:51the collar and tie.
30:52Applause!
30:55My faith in people
30:59It goes at a time
31:01I had loved her because of your love.
31:08In our honor,
31:10Ignacio Sánchez Mejías
31:11He throws us a party at his estate in Pino Montano,
31:13on the outskirts of Seville,
31:15Now that our performance at the Ateneo has ended.
31:26Ignacio has foisted some djellabas on us.
31:28and he showers us with attention and Andalusian wine.
31:31The one who sings like a wounded, wild animal,
31:34like a terrible well of anguish,
31:37It's Manuel Torre, the boy from Jerez,
31:39The same one who was in Granada
31:40when the Cantejondo competition.
31:44That's how you sing.
31:48Oh, baby!
31:56Ordinable, Master!
31:57Ordinable!
31:58Have you seen it?
31:58This is art.
32:00Sing well, sing well.
32:01Take.
32:03Panolo, you're the greatest.
32:05How can anyone sing like that?
32:08Rafael, in the Cantejondo
32:10that which you should always look for
32:12until you find it
32:13It is the black trunk of the pharaoh.
32:15What a sentence, Paés!
32:16In my house! What I just heard!
32:19Damas or Alonso, bring here the laurel wreath that the people of the Ateneo have placed on you and give it to the
32:24boy from Jerez.
32:32That wouldn't be fair, cousin. Does the man have any merit?
32:39Some do have them, but more are needed for a laurel wreath.
32:47One moment!
32:49Leave Pepe Vergadín aside!
32:51Just a moment, gentlemen! Just a moment! I've got it!
32:55The fact that?
32:56The definitive test for Damas or Alonso to keep the laurel wreath that has been given to him
33:01the Ateneo of Seville
33:02and that Federico believes he does not deserve it.
33:04And he doesn't deserve it!
33:06Well, well, well!
33:09So what do I have to do?
33:10Recite, without making a mistake, the 1091 verses of the first solitude of Don Luis de Góngora y Argote.
33:20Now! Now!
33:25Well!
33:27Let's go then!
33:31It was the Florida season of the year when the lying thief of Europe...
33:36You are Luis Cernuda, aren't you?
33:37Yeah.
33:38Don't worry about Ladies or...
33:41He will recite all 1091 verses without making a mistake.
33:46When the one who could serve the cup, he would rather serve Jupiter than the servant on his way out...
33:52I wanted to talk to you.
33:53You tell me, Federico.
33:55Yesterday, when we were introduced, I had the impression that I must have seemed very idolized to you.
33:59No, man, no.
34:00And I'm not like that.
34:02I want you to get to know me better.
34:03So you can see what I'm really like.
34:06Oh, and I also want to tell you about your book, Profile of the Air, which I read this spring.
34:11I remember one that begins that recent breeze in the slender space, in the leaves opening only a spring.
34:19Through the absolute expanse of the sky without a banner, birds in hand, first swallows.
35:01Hello, Emilio.
35:02Hello.
35:08Who are they?
35:09My friends, I need to talk to one of them.
35:13Now?
35:14Yes, now.
35:16What should I do?
35:18Whatever you want.
35:27How are you?
35:28Very good.
35:30It had been a long time since we had seen each other.
35:33Just a few months, nothing more.
35:35Really, you remember?
35:36Yeah.
35:38One day we agreed that I would see your sculptures.
35:41I never did.
35:43We still have time.
35:45No.
35:46Whenever you want.
35:51Two gins.
35:52No, not me.
35:53Yes, today.
35:54Please.
35:59Right here, in a low voice, recite your favorite verses to us.
36:06Romance of the unfaithful wife.
36:09And I took her to the river, believing she was a young girl, but she had a husband.
36:14It was Santiago's night, and almost by obligation.
36:17The lights went out...
36:20I haven't prepared it.
36:22He's been reciting your verses to anyone who will listen for days.
36:25I'm sorry.
36:29I should feel very relieved.
36:32The book hasn't been released yet.
36:33And the romances are already known.
36:37I should feel great.
36:40But...
36:42I don't know why I don't like it.
36:45Or it scares me.
36:49I'll try to explain it to you.
36:51I will try to understand it.
36:53Forgive me again.
37:03Because of this blunder
37:04do not prevent the birth of a good friendship.
37:07For the waiters who recite verses.
37:15I'd like to do your head.
37:18What are you saying, my big-headed friend?
37:20Your head.
37:22You would be patient and pose for me.
37:25I think so.
37:28Let's try it.
37:53He doesn't like it.
37:55I greatly fear that my countryman and confidant
37:57Pepe García Carrillo
37:58this head of mine
38:00which he has not yet finished doing
38:01my friend Emilio Aladrén
38:03He doesn't like it at all.
38:24Okay, tell me.
38:27What do you think?
38:28Bad.
38:29Bad, beyond repair.
38:31And you know what's worse, Federico?
38:33That you don't want to realize that.
38:35That he is a sculptor without talent
38:36that will never amount to anything.
38:38No, you're wrong, Pepe.
38:39You're wrong.
38:41I am sure that by my side
38:42Emilio will be able to give everything he has.
38:44And what does it have?
38:47Eight years younger than you
38:48and that he's handsome.
38:51Or that's how you see it.
38:55Between Tahitian and Russian.
38:58Isn't that what you're saying?
39:01Emilio has brainwashed you
39:02and you see only through their eyes.
39:03Instead, you don't see how he uses you.
39:06Use your fame to get ahead.
39:07So that people can get to know him.
39:10The great Federico
39:11He introduces it to everyone.
39:13and he tells everyone
39:14that Emilio is an extraordinary artist.
39:17And why not?
39:19He's my friend.
39:20And I love him.
39:33And do you think he loves you?
39:37Not as much as I would like.
39:41Not so much.
39:45You have to cut it out, Federico.
39:48You have to leave him.
39:51All your true friends
39:52They've been telling you this for a long time.
39:54All.
39:55Me too, Federico.
39:57Emilio is not worth it.
40:01And I'm telling you this.
40:03What have I had to do with Emilio?
40:05long before you.
40:07That's a lie.
40:09It's impossible.
40:11No.
40:12No, it isn't.
40:14I can give you all sorts of details.
40:17Where we were.
40:19And when.
40:22And how.
40:28It's not possible.
40:33It's not possible.
41:02The first street party.
41:04The first festival that God sends is that of Saint Anthony of Florida.
41:09Luis, in the charm of the early morning, sings of my ever-blooming friendship.
41:16The large moon shines and rolls through the high, tranquil clouds.
41:22My heart shines and rolls in the green and yellow night.
41:27Luis, my passionate friend, braids the breeze.
41:35The boy plays the small piano, sad, without a smile.
41:43Beneath the paper arches, I shake your friendly hand.
41:57I have now finished reading the proofs you sent me of your next book, The Gypsy Ballads.
42:04And what do you think?
42:12Your gypsy ballads seem very bad to me, very bad.
42:22It is a poetry that partakes of the refinement and roughly modernity that any poetry of today should have in order to
42:30to please the critics and the faggot and Cernun-like poets of Seville.
42:38Well, there are magnificent and brand new images, but they are very rare.
42:45And mixed with a plot that I find unbearable.
42:49And what is it that's full of menstrual blood in Spanish beds?
42:57Populist and bland. That's the poetry in that book.
43:02I believe you are the most gifted person in the world.
43:05I don't understand how you could have done that.
43:10You don't even know Andalusia.
43:13And you despise her without knowing her.
43:17You talk nonstop about surrealism, violent images, provocation, revolution.
43:24I'm waiting.
43:25I do what I feel, what comes from within.
43:28I can't just sign up for the first thing that comes along.
43:32Surrealism has changed all concepts.
43:38Art, life, the world.
43:41Nothing is the same as it was.
43:44Did you talk to Salvador about this?
43:46I was with him in Cadaqués and we talked about it.
43:48He has his own ideas, but he is convinced of the path to follow.
43:53He hasn't written to me.
43:55What is he going to do?
43:57Collaborate with me on a film.
44:00We'll do it in Paris.
44:02Clear.
44:03It does not yet have a final title.
44:05For now it's...
44:06It's dangerous to look inside.
44:08And how dangerous it is to look inside.
44:16You'll have to forgive me.
44:17I'm so sleepy.
44:34At the end of July 1928, the first edition of the Revista de Occidente went on sale.
44:42Federico García Lorca's Gypsy Ballads, which had an extraordinary reception.
44:49Federico is about to return to Granada, as he does every summer, and his room in the residence hall is full.
44:54of friends, old and new, who come to say goodbye to him or bring him copies of the ballads for him to dedicate to them.
45:03Santiago Ontañón, a decorator with whom he will work later.
45:08Jorge Zalamea, a Colombian boy whom he greatly appreciates.
45:15Rafael Martínez Nadal.
45:19And Carlos Morlalinch, a diplomat from the Chilean embassy in Madrid whom he had just met.
45:25He and his wife, Bebé, will be close friends of Federico in the years to come.
45:30Have you really absorbed what Ricardo Baeza says in El Sol?
45:34Spain has a great poet again, the poet it has lacked since Antonio Machado and Juan Ramón Jiménez
45:40They fell silent.
45:42Federico García Lorca has managed to forge the most personal and unique instrument of lyrical expression that has ever existed in Spanish.
45:49since the great reform of Rubén Darío.
45:51Not bad at all, huh?
45:53Truly, the publication of your book has been a momentous event.
45:58The bells of praise have been rung.
46:01And I'm not making this up.
46:03Miguel Pérez Ferrero says so in the Literary Gazette.
46:06And the jokes, jokes are made about the booksellers' anguish.
46:11Especially in the provinces, when editions sell out one after another and new shipments don't arrive.
46:17You're going to create a public order problem.
46:32While Frederick was reading that chronicle of events, no one could realize that he was witnessing the birth of a
46:39construction site
46:39which the poet would write four years later, which would premiere in Madrid in '33, and of which
46:46Montana would do the sets.
46:49Blood wedding.
46:51The bride, after being arrested, stated that she had run away with her cousin to escape the groom.
46:57They fled on horseback, and upon arriving at the crime scene, they were met by a masked man who...
47:05four shots.
47:07Isn't that extraordinary?
47:09It's a perfect drama that just needs to be written.
47:15Maybe I'll do it.
47:20Thank you!
47:45Thank you!
47:51Federico, in your book, which I've been taking with me around these mineral-rich places to read,
47:57I've seen you, the little beast that you are, erotic little beast with your sex and your small eyes of
48:05your body,
48:06and your hair, and your fear of death, and your desire that if you move, they'll know
48:13sirs,
48:14your mysterious spirit made of silly little enigmas, of a close correspondence with your cock,
48:21and with the dampness of the slimy lakes, of certain species of hairy planets that exist.
48:29I love you for what your book reveals you to be, which is the complete opposite of the reality that...
48:36rotten things have been forged from you.
48:38A dark-skinned gypsy, with black hair, a childlike heart, etc., etc.
48:43All that decorative, anti-real, non-existent, effeminate Lorca stuff, only possible because it was created by the artist pigs.
48:51Federico, surrealism is one of the means of escape, and that escape is what's important.
49:34We talked about your things, your relationships, your studies, and suddenly your father asked me,
49:40What's wrong with my Federico?
49:43Do you really want to know?
49:47The gypsy ballads are being created all around me,
49:50a myth of gypsy culture that drives me crazy.
49:55I am engaged in a duel to the death with my heart and with my poetry.
50:02With my heart, to free him from the impossible passion that tears him apart.
50:07With my poetry, I have worked a lot and I am still working.
50:13Now, Rafael, I write poetry by opening my veins,
50:17a poetry already detached from reality,
50:20through an emotion that reflects all my love for things
50:23and also my mockery of things.
50:26Love of dying and mockery of dying.
50:30My love, my heart, I don't want the myth to triumph, Rafael.
50:43What did you say to my father?
50:46Nothing serious is wrong with you?
50:49The hangover from success, surely, perhaps, maybe a little depression.
50:54What else could I tell him?
50:59Which Federico?
51:00Hey?
51:05Because there are more things, I know.
51:11Emilio is getting further and further away from me, more and more.
51:17Now he's dating that English girl and he might even marry her.
51:22And Salvador, Salvador Dalí is in Paris with Luisito Buñuel.
51:31They have abandoned me, Rafael.
51:42They have abandoned me.
51:44No, man, no.
51:45They're just working.
51:51They are going to make an avant-garde film.
51:54An Andalusian dog.
51:55And am I the Andalusian dog?
51:57No no!
51:58Of course!
52:02Years ago, Dalí, Buñuel, Pepín Bello and other colleagues
52:07They used to call us Andalusian dogs.
52:10To the artists from further down from Despeñaperros who lived in the residence.
52:15Our Freudian complexes of...
52:17Infantilism, castration,
52:21the disgusting sexual ambivalence.
52:24All of that will be in the shitty little movie they're going to make.
52:28You'll see.
52:29And what's worse,
52:31They'll make me laugh while they're doing it.
52:37Wouldn't you like to travel?
52:39Spend some time outside of Spain?
52:43What do you mean?
52:45What your father asked me.
52:47He is willing to pay for the trip.
52:50Anywhere?
52:51That seems to be the case.
52:53I believe that your friend Don Fernando de los Ríos
52:55He is going to the United States to give a series of lectures.
53:01I've always thought New York must be a horrible city.
53:05And that's precisely why it wouldn't be a bad idea to go there.
53:09Don Fernando is a charming man.
53:11A master in his field.
53:13And a true friend.
53:15It could help me a lot.
53:17Because I don't know a word of English.
53:20And furthermore,
53:21I'm a bit of a fool when it comes to practical life.
53:27far from Spain and everything
53:30for many months.
53:34No, that wouldn't be bad.
53:37I need to think about it.
53:41I just said something stupid.
53:43One can never be far from Spain.
53:51Have you seen this?
53:53What is it?
53:55A letter we have written to Ortega y Gasset.
53:58Signed by 24 young writers.
54:00And me too, of course.
54:02Where we categorically deny our apolitical nature.
54:07We express our revulsion at the policy
54:09of the Primo de Rivera dictatorship.
54:10And we affirm our desire to seek new political paths
54:13for this country.
54:14With the intuition that they will soon do
54:16a new and hopeful Spain.
54:21In the month of June of the year 1929
54:23It premieres at Le Studio de Circilin in Paris
54:26the film by Buñuel and Dalí
54:28whose final title is
54:29An Andalusian dog.
54:32Around that time,
54:33Federico García Lorca
54:34I was passing through the French capital,
54:36on the way to England,
54:37where he would embark for America
54:39in the company of Fernando de los Ríos.
54:41The poet's extended stay in New York
54:44It will represent a fundamental stage
54:46in life and in work
54:48by Federico García Lorca.
55:39The diversity of Warma
56:09Thank you!
56:23Thank you!