Post-War European Films and the Concept of Auteur - Essay Example

? Post-War European Films and the Concept of “Auteur” There have been a lot of developments in European cinema since the Second World War ended. Some of the filmmakers in Europe actually experimented on new ideas and concepts on how to make films, as well as on the very technique and purpose of filmmaking in itself. Some filmmakers experimented on social realism (especially on the countries belonging to the former Iron Curtain), while some also experimented in making magical realist, existentialist, psychological, and symbolic films. However, there is one particular development on post-war filmmaking in Europe that has caught the attention of the researcher, and this is the concept of “auteur.” In fact, many popular European filmmakers are actually categorized by scholars of film studies as an example of an auteur, and one of the most famous is the Spanish director and filmmaker Pedro Almodovar, the director of the films “Matador,” “Hable con Ella,” and “Volver” (‘Pedro Almodovar” n. p.). In this case, this paper would then try to describe the concept of the “auteur,” especially on its importance on the development of post-war European films. In order to achieve this, the researcher would try to look into the basic definition of the “auteur,” as well as how it came about. After this part, the researcher would then try to describe the concept of the “auteur,” especially in the context of post war European cinema, from the films of the Spanish director Almodovar. The researcher would try to focus on the different themes that can be found in the works of Almodovar, in order to explain why the “auteur” is now an important part of contemporary European cinema. In order to explain the importance of the concept of the “auteur” in European cinema, it is important first to define this concept, especially in the context of post-war filmmaking in Europe. In this case, what then is the “auteur?” The word auteur is actually a French word, and when taken literally this word actually means the “author” (“auteur” n. p.). In this case, the concept of the auteur may actually refer to the author of the filmmaker itself. However, who is treated as the author of a film, and what is its significance in film studies/film criticism as a concept? According to film scholars, the concept of the auteur actually refers to the original idea of the French filmmaker Francois Truffaut (1932-1984), who in his manifesto “The Policy of Auteurs,” declared that “Cinema as an art made by a filmic artist and not by a writer,” wherein the filmic artist, or the filmmaker, is actually the auteur (“Truffaut’s manifesto: La Politique des Auteurs” n. p.). In this case, then, the concept of the auteur actually emphasizes the role of the filmmaker (or the director in that case), in the creation of the film itself, wherein the film is actually a creative product of the auteur (the filmmaker); also, it then follows that films actually represent the filmmakers actual creative vision (“Truffaut’s manifesto: La Politique des Auteurs” n. p.). In this case, in the treatise of Truffaut, he actually argues that despite the involvement of film in an industrial or commercial process, wherein elements of the studio may heavily determine the outcome of the film; but the theory of auteur still actually holds that the creative voice (or the creative elements) of the film still actually shines out, and this come from the artistic and creative viewpoint of the auteur (“Truffaut’s manifesto: La Politique des Auteurs” n. p.). In this case, the theory of “auteurism” actually came out from this concept, wherein films can actually be analyzed or understood according to the different characteristics and themes of the auteur, and wherein common themes of the auteur can actually be identified with his works (“Truffaut’s manifesto: La Politique des Auteurs” n. p.). In fact, the concept of the auteur actually contributed much to the development of post war cinema not only in Europe but in the world, wherein the treatise of Truffaut on the auteur actually sparked …New kinds of stories, new young filmmakers, new methods of production, new mentality in the film press. It was all part of a larger wind of change : Free Cinema (1953-1966) which started in parallel in the UK with the magazine Sight & Sound ; the New Indian Cinema (1955) most notably in West Bengal ; the Japanese New Wave (1956) which began separately ; Nuevo Cine (1957) in Argentina ; New American Cinema (1960) in the USA around the magazine Film Culture ; Nuevo Cine (1962) in Spain ; Cinema Novo (1962-1969) in Brazil ; Novo Cinema (1963-1974) in Portugal ; the Prague Spring (1963-1968) in Czech Republic ; Direct Cinema (1963) in Canada ; New Hollywood (1967) in the USA… So were the developments in the decade following this key article… (“Truffaut’s manifesto: La Politique des Auteurs” n. p.) Therefore, it can actually be inferred that in analyzing films according to the concept of the auteur, it is particularly important for the critic to look at the dominant creative and artistic film of the auteur, and on how his films actually represent his specific creative imagination, as an artwork by the auteur in other words. Based from such definition of the auteur, in this case, how cans its importance in post war European cinema can be traced from the works of the Spanish director Pedro Almodovar? What are the characteristics of Almodovar as an “auteur,” and how is it reflected in his films and to the development of European filmmaking in general? In order to answer this question, the researcher would make a short peek upon the life of Pedro Almodovar as a filmmaker, and would focus on some of his most popular films in order to illustrate the concept of the auteur. According to the official website of Pedro Almodovar, he was actually born in the 1950s, in Calzada de Calatrava, province of Ciudad Real (“Pedro Almodovar” n. p.). Relating to his earlier experience with movies, Almodovar actually relates that Apart from the chair, the first time I went to a theater I also took a can of coal with me to fight the cold during the projection. In time, the heat of that makeshift hearth has become the paradigm of what movies meant to me back then. (“Pedro Almodovar, n. p.). Almodovar soon moved to Madrid when he was still sixteen, having two specific objectives: that is, to study and to make movies (“Pedro Almodovar” n. p.). Starting from his first film “Pepi” (1980), which talks about sexuality, friendship and female solidarity, Almodovar soon made numerous movies, with some of them receiving major international awards such as the films “Tacones Lejanos” and “Hable con Ella” (“Pedro Almodovar” n. p.). In this case, then, what are the dominant creative themes that can be seen in the films of Almodovar, defining him as an auteur? According to a well-known Spanish film critic, Jose Arroyo Exploring his gay sensibility, Almodovar appeals to straight audiences, who share his appetite for the resurrection and re-invigoration of old movie cliches. In overlooked works like Kika, characters literally die for love, and this slick director understands that classic escapism has undying appeal for a reason. The genius of Almodovar lies in succumbing to the absurdity of Hollywood romanticism, while recognizing it as an impossible ideal. After enduring bloodless Oscar winners and critically correct masterpieces, the audience rushes to Almodovar’s movies because they act like a tonic (“Pedro Almodovar” n. p.). In fact, it is well known that one of the major features of the films made by Almodovar actual includes themes complex narratives that deals with being gay, the family, passion and identity; in addition, the films that he makes usually blend the different element of popular culture, melodrama, strong colors, and LGBT themes, all boiling down to a mix of art-house auteur and popular filmmaker (Allinson 3-7). In fact, Allinson actually argues that Almodovar is a “true Spanish auteur,” given that More than most directors, he can lay claim to the auteur status because he not only directs, but also controls the production and pre-sales of his work. Almodovar’s relationship with the people who work for him—both actors and his staff at El Deso, the production company he runs with his brother Augustin—is central to his status as an auteur. (Allinson 4) For instance, the film “Pepi, Luci, Bom y otras chicas del monton” (English Translation: Pepi, Luci, Bom and Other Girls on the Heap), the first major commercial film made by Almodovar and released in 1980, already shows a unique thematic style of filmmaking that will soon be repeated by his following movies: the themes of both cultural freedom and sexual freedom (Edwards 18). The film “Pepi” actually talks about the eventual meeting of three friends (Pepi, Bom and Luci), where Luci actually runs away from her abusive husband and involves in a lesbian relationship with Bom, Pepi’s friend. In fact, Pepi is actually the reason why they all met up, given the plan of Pepi to revenge on Juan, the husband of Luci who raped her. Along the movie, Pepi, Bom and Luci actually discover their freedom in the youth scenes of Madrid, until Luci decides to go back to her abusive husband, being a sadomasochist herself. From this plot, the themes of female resilience, friendship, solidarity, and freedom actually holds dominant, given the experiences of the main characters Luci, Bom and Pepi; their independence from men (both sexually, emotionally and economically), and how do they live their lie. Such themes of female resilience, friendship, solidarity, and freedom is actually repeated in the film made by Almodovar four years later, entitled “?Que he hecho yo para merecer esto? (English Translation: What Have I Done to Deserve this?), a story about pedophilia, prostitution, female frustration and family breakdown (Denby 76). The story of this film actually centers on the dysfunctional family of Gloria, a housewife. Gloria actually lives with her teenaged children, one being Miguel (a homosexual that she will sell to a sex-starved dentist), and the other named Toni, who is running a drug business; Gloria also lives along with her sexually-challenged husband Antonio, and her mother in law who actually hides cakes and bottled water from the household, selling it to the family. Out of this chaos, Gloria actually finds comfort from her best friend Cristal (who is a prostitute), especially when she accidentally kills her husband when he assaulted her. At first instance, it actually seems that the plot of the film is different from the plot of “Pepi.” However, it can also be noted that the creative touch of Almodovar, especially in themes of female resiliency, friendship and solidarity is still evident, and as witnessed in the friendship of Gloria and Cristal, who finds strength in each other despite both of their chaotic backgrounds. In addition, the theme of family and sexuality is again evident, especially in the dysfunctional family of Gloria, and the sexual themes evident in the characters of Antonio, Cristal and the Dentist. The strong theme of sexuality, evident in the films “Pepi, Luci, Bom y otras chicas del monton” and “?Que he hecho yo para merecer esto?” is again seen in one of his most controversial film, released in 1986, the film “Matador. This film actually centers on the themes of sexuality but with a different twist: the relationship between sexuality and violence, while also touching the themes of religion and darkness. In this movie, Diego, a matador, actually provokes his friend Angel to have a sexual experience with women, given that Diego questions Angel’s sexuality given his inexperience with sex. In order to prove himself, Angel actually attempts to rape Diego’s girlfriend Eva, but fails because he fainted when he saw blood coming out of Eva. As Angel reports the incident to the police, he becomes increasingly involved in a murder crime, where Diego and Angel’s lawyer Maria is also involved. Eva then uses her knowledge of Diego and Maria’s involvement with the murders in order for Diego not to leave her. At the end of the film, the police discover that Maria kills Diego and herself while they were making love. Although this film actually explores another theme, namely violence and darkness in relation to sexuality, the background of the characters involved still deals with dominant themes present in all of his movies: the different dimensions of sexuality and femininity. In the case of “Matador” sexuality is treated from the perspective of violence and darkness, while the female characters remain strong, and where their decisions strongly determine the course of the movie. As an auteur, Almodovar actually distinguishes himself with the use of common themes such as themes of female resilience, friendship, sexuality, and freedom, while preserving his unique technique of combining elements of melodrama, complex narratives and plots, and strong colors. In this case, it has been an important development of European filmmaking, given the rise of other filmmakers as a unique auteur, especially in the likes of Akira Kurusawa, Bernardo Bertolucci, Francois Ozon and Stanley Kubrick. Works Cited Allinson, Mark. A Spanish Labyrinth: The Films of Pedro Almodovar. London: Palgrave McMillan, 2001. Print. “Auteur.” dictionary.com. Dictionary.com, n. d. Web. 1 March 2011. Denby, David. “What Have I Done to Deserve This?” New York Magazine 29 April 1985: 76. Print. Edwards, Gwynne. Almodovar: Labyrinths of Passion. New York: Peter Owens Publishers, 2001. Print. “Pedro Almodovar.” clubcultura.com. Pedro Almodovar Official Website, n. d. Web. 1 March 2011. “Pedro Almodovar.”encyclopedia.com. Thomson Gale, 2004. Web. 1 March 2011. “Pedro Almodovar.” theyshootpictures.com. TPSTD, n. d. Web. 1 March 2011. “Truffaut’s manifesto: La Politique des Auteurs.” indianauteur.com. Indianauteur, 2009. Web. 1 March 2011. Read More