Held in spring 2021 at Madrid’s Fernán Gómez Theater, the exhibition Carlos Saura and Dance began with a wall panel of B&W photos the director took at the 1956 Granada Intl. Festival of Music a…
and Dance began with a wall panel of B&W photos the director took at the 1956 Granada Intl. Festival of Music and Dance.
Classic Saura with a very contemporary edge, “The King of All the World” begins with celebrated Mexican choreographer Sara being invited by Manuel, , a stage director, to help him prepare a new musical. Manuel and Sara select Inés , just 20, a beautiful young dancer from Mexico City’s humble outlying districts, as the female lead. But her backstory – her fickle dad owes money to the mob – introduces an undercurrent of violence which builds to a doubly shocking climax.
I’ve always thought that “rehearsals” are more interesting that the final performance, perhaps because they show the effort needed to get to the final result. I always cite “42nd Street,” from Lloyd Bacon, made in the 1930s, which laid the basis for film musicals.One major innovation of “The King of All the World” compared to, say, “Carmen,” is its technology.
Mexico is still a machista country, by tradition and history, but little by little women are playing the role they merit. Women, above all the younger ones, are battling for independence. Today, in general, women have important positions in all facets of society. For example, my daughter Anna Saura is now an agent and producer.
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