As a seasoned movie critic with decades of film viewing under my belt, I have had the privilege to witness the extraordinary talent that Marisa Paredes brought to the big screen. Her passing leaves a void that cannot be filled, but her legacy will live on through her remarkable performances.
Marisa Paredes, a distinguished figure in the Spanish film industry who happened to be quite young at heart, passed away on Tuesday in Madrid due to heart complications. She was 78 years old.
Among the 75 films she appeared in, it’s her roles in five movies directed by Pedro Almodóvar that are most iconic: “Dark Habits” (1983), “High Heels” (1991), “The Flower of My Secret” (1995), “All About My Mother” (1999) and “The Skin I Live In” (2011). Particularly memorable for her was “The Flower of My Secret,” as it signified Almodóvar’s return to themes close to his heart, like those connected to his mother. This thematic reconnection has continued throughout his work to the present day.
In “The Flower of My Secret,” I found myself immersed in the world of Isabel Paredes, a sophisticated author of romantic novels who, upon returning to her hometown, felt somewhat out of place – much like a city-dweller lost among the quaint, rustic charm of a village.
In reality, Paredes possessed an innate grace, enhanced by her preference for garments designed by Spanish fashion designer Sybille. Bayona remarked on this following her passing, noting that these outfits enveloped her in a “mystical aura.” However, he emphasized that she was also warm, understanding, and consistently considerate.
Born to a janitor’s family, Penelope Cruz hailed from the economically struggling Plaza de Santa Ana, located in central Madrid, Spain, following the Civil War. She had a minor role in the 1965 Fernando Fernán Gómez film “El Mundo Sigue,” but gained substantial experience through her work in classic theatre productions adapted for television by the public broadcaster RTVE, featuring playwrights such as Chekhov, Dostoevsky, and Ibsen.
She subsequently collaborated with renowned contemporary Spanish directors, starting with Fernando Trueba in his first film “Opera Prima” (1980), where she displayed her grand dame demeanor with a touch of humor. Following this, she took on leading roles, including Agustí Villaronga’s “In a Glass Cage” (1986), Arturo Ripstein’s “Deep Crimson” (1996) and “No One Writes to the Colonel” (1999), as well as Guillermo del Toro’s “The Devil’s Backbone” (2001).
Even with an aura of sophistication, she always remembered her humble beginnings. As president of the Spanish Academy of Motion Pictures Arts and Sciences, she publicly supported the on-stage protests by multiple award winners at the 2003 Goya Awards, which were in opposition to the pro-Iraq invasion stance taken by José María Aznar’s conservative government.
Chema Prado, a previous leader at Filmoteca Española, and their daughter, María Isasi, are the ones who will continue to remember Paredes after her passing.
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2024-12-17 16:17