News A Valentine's cinema with 52 lovers of the big...

A Valentine’s cinema with 52 lovers of the big screen


“The cinema has taught us to love, to kiss, to look, to seduce and to be seduced, to behave in front of Cupid at deep levels of the subconscious, even indirectly,” said book coordinator David Felipe Arranz on Thursday. Professor of the Carlos III University of Madrid, during the busy release of «Amores de cine. Passions beyond the celluloid », the ninth yearbook published by the publisher of Pygmalion on the adventures of Cupid. In addition, the philologist and journalist from Valladolid included an unpublished contribution on some of Marilyn Monroe’s favorite books: “We identified the essay on Goya she always had on the nightstand: it was much more than a sex symbol.”

52 different voices
The evening, which featured the director of the National Historical Archive, Juan Ramón Romero Fernández-Pacheco, and the editor Basilio Rodríguez Cañada, and who served as a tribute to Patxi Andión, gave voice to about twenty co-authors of this multigenic book that contains poetry, stories, chronicles, essays, small theater pieces, etc. But not everything is days of wine and roses. For Alicia Montesquiu, «cinema has caused us a lot of heartbreak. That is why we sublimate the cinema: because it is what we would like life to be like, ”he said, in relation to“ The cat on the zinc roof ”, the film that honors.

For her part, Cristina Higueras shared her impressions about “Madison’s Bridges”, “a film that rediscovered romantic love for many people.” For Rafael Gordon, «the kiss is the key that opens the door to a possible paradise», and Juana Escabias quoted Jean Cocteau: «Love is the donation of oneself», in relation to his model of love, «delivered and authentic”. Jon Andión closed the act, which read a poem contained in the book and dedicated to “Casablanca” in memory of his father.

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The filmmakers write in the volume –Jaime Chávarri, Rafael Gordon, Manuel Martín Cuenca, Víctor Matellano and Antonio Peláez–, playwrights –Ignacio Amestoy, Juana Escabias, Alicia Montesquiu, Juan Carlos Rubio and Pedro Víllora–, poets –Carlos Aganzo, Jon Andión, Alberto Chessa, Diego Doncel, Raquel Lanseros, Miguel Losada, Basilio Rodríguez Cañada and Luis Antonio de Villena -, philosophers –Fernando Castro Flórez–, writers –Jesús Alcoba, Vicente Araguas, Roberto Gil de Mares, Cristina Higueras, Ramón Jiménez Pérez, César Antonio Molina, Vicente Molina Foix, Manuel Neila, Amelia Pérez de Villar, Ernesto Pérez Zúñiga, Nery Santos, Pilar Tena, Ignacio del Valle and Bella Clara Ventura–, journalists –Miguel Ángel del Arco, David Felipe Arranz, Guillermo Busutil, Sergi Doria , Marisol Galdón, Juan Carlos Laviana, Cristina Martín Jiménez, Miquel Molina, Javier Ors, Moisés Rodríguez and Jaime Vicente Echagüe– and film researchers –Guillermo Balmori , Lucia M. Cabanelas, Juan Manuel Corral, Luis Freijo, Esperanza García Claver, Gérard Imbert, Alberto Lena and Miguel Losada–.

The chapter written by Lucia M. Cabanelas, editor of ABC, explores her own discovery of the complexity of relationships through immortal tapes such as “Holidays in Rome” or “Cinema Paradiso.” The journalist of this house skips her personal experience with impossible loves, some happy, others unfortunate, all dangerous, which illuminated Hollywood in its golden decades. .


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