Carlos Saura
Saura in 2017
Born	Carlos Saura Atarés (1932-01-04)4 January 1932 Huesca, Spain
Died	10 February 2023(2023-02-10) (aged 91) Collado Mediano, Spain
Occupation(s)	Film director, screenwriter, photographer
Years active	1955–2023
Notable work	Los golfos The Hunt Peppermint Frappé Honeycomb Ana and the Wolves Cousin Angelica Cría Cuervos Elisa, vida mía Faster, Faster Carmen Tango Goya in Bordeaux
Spouses	Adela Medrano Mercedes Pérez Eulàlia Ramon ​ (m. 2006)​
Partner	Geraldine Chaplin (1967–1979)
Children	7
Relatives	Antonio Saura (brother)

Carlos Saura Atarés (4 January 1932 – 10 February 2023) was a Spanish film director, photographer and writer. With Luis Buñuel and Pedro Almodóvar, he is considered to be among Spain's great filmmakers. He had a long and prolific career that spanned over half a century, and his films won many international awards.

Saura began his career in 1955 making documentary shorts. He gained international prominence when his first feature-length film premiered at Cannes Film Festival in 1960. Although he started filming as a neorealist, Saura switched to films encoded with metaphors and symbolism in order to get around the Spanish censors. In 1966, he was thrust into the international spotlight when his film The Hunt won the Silver Bear at the Berlin International Film Festival.^[1] In the following years, he forged an international reputation for his cinematic treatment of emotional and spiritual responses to repressive political conditions.

By the 1970s, Saura was the best known filmmaker working in Spain. His films employed complex narrative devices and were frequently controversial. He won Special Jury Awards for Cousin Angelica (1973) and Cría Cuervos (1975) in Cannes, and he received an Academy Award for Best Foreign Language Film nomination in 1979 for Mama Turns 100.

In the 1980s, Saura was in the spotlight for his Flamenco trilogy – Blood Wedding, Carmen and El amor brujo, in which he combined dramatic content and flamenco dance forms. His work continued to be featured in worldwide competitions and earned numerous awards. He received two nominations for Academy Awards for Best Foreign Language Film for Carmen (1983) and Tango (1998). His films are sophisticated expression of time and space fusing reality with fantasy, past with present, and memory with hallucination. In the last two decades of the 20th century, Saura concentrated on works uniting music, dance and images.

Early life

Saura was born in Huesca, Aragon on 4 January 1932. His father, Antonio Saura Pacheco, who came from Murcia, was an attorney and civil servant. His mother, Fermina Atarés Torrente, was a concert pianist. The second of their four children, Carlos had an older brother, Antonio Saura, and two younger sisters, María del Pilar and María de los Ángeles. Antonio became a well-known abstract expressionist painter. From their parents, the four siblings received a liberal understanding education. Because his father worked for the Ministry of the Interior, the Saura family moved to Barcelona, Valencia, and, in 1953, to Madrid. Saura's childhood was marked by the Spanish Civil War, during which the Nationalists fought against the Republicans.

Saura had vivid recollection of his childhood during the war. He later evoked some of them in his films – the games he played, and the songs he sang, as well as darker memories of bombings and hunger, blood and death. He was taught to read by a priest, a relative whom his parents sheltered from anticlerical extremists. At the war's end, Saura was separated from his parents and sent back to Huesca to live with his maternal grandmother and aunts. He described these relatives as "right wings and very religious" who imposed in the child the very antithesis of the liberal education he had received in the republican zone. After having studied civil engineering he began a career in the film industry on the advice of his brother Antonio Saura.^[1]

Career

During 1957–1958, Saura created Cuenca, his first film. In 1962, his film Los Golfos was recognized for its strong sociological impact in helping Spanish youth by tackling the issue of juvenile delinquency in Madrid's poorest districts. Four years later (1966), he was honored at the 16th Berlin International Film Festival, where he received the Silver Bear for Best Director for his film La caza.^[2] In 1967, his film Peppermint Frappé received the Silver Bear for Best Director at the 18th Berlin International Film Festival.^[3] He won the Golden Bear in 1981 at the 31st Berlin International Film Festival for his film Deprisa, Deprisa.^[4][1]

The films La prima Angélica (Cousin Angélica) of 1973 and Cría cuervos (Raise Ravens)^{[n. 1]} of 1975 received the special prize of the jury at the Cannes Film Festival. His film Mamá cumple 100 años was nominated for the Academy Award for Best Foreign Language Film at the 1980 Academy Awards.^[5]

Saura become known for movies featuring flamenco and other traditional dances. His Flamenco Trilogy of the 1980s includes Bodas de Sangre (Blood Wedding), Carmen, and El amor brujo featuring the work of Spanish flamenco dancer Cristina Hoyos. He later made the movies Flamenco (1995),^[6] Tango (1998), and Fados (2007).

His 1989 film La noche oscura was entered into the 39th Berlin International Film Festival.^[7]

Saura in 2002

Saura considered his film on surrealist master Luis Buñuel to be his best cinematic work. In an interview with an online film magazine,^[8] he said about Buñuel y la mesa del rey Salomón (Buñuel and the table of King Solomon – 2001): "That's the greatest film I’ve ever made. I like the film but nobody else seems to like it. I’m sure Buñuel would have loved this film. But perhaps only he would have loved it. Everything you see in the film is actually based on conversations I had with him."

In 1990, he received the Goya Award for the best director and best script for ¡Ay, Carmela!. He was chosen as director for the official film of the 1992 Olympic Games of Barcelona, Marathon (1993).

In 2008, Carlos Saura was honoured with a Global Life Time Achievement Award at the 10th Mumbai International Film Festival, organized by the Mumbai Academy of the Moving Image.^[9]

In 2013, he was given a Lifetime Achievement Award at the 18th International Film Festival of Kerala.^[10]

Personal life and death

Carlos Saura was married three times. He first married Adela Medrano.^[11] They had two sons, Carlos and Antonio.^[11] In 1982, he married Mercedes Pérez, with whom he had three sons, Manuel, Adrián, and Diego.^[11] Between those two marriages, Saura had a son Shane with actress Geraldine Chaplin.^[12] He was the father of a daughter named Anna from his third marriage to actress Eulàlia Ramon,^[11][13] whom he began a relationship in the wake of the shooting of Outrage.^[14] They married in 2006.^[14] His daughter Anna was his agent (as well as right hand and producer of his films) in his late years.^[15][16]

He was an avid photographer and had a collection of over 600 cameras.^[1] His photographs were exhibited several times.^[1] He began to take photographs having reached the age of eight years, and later built his own camera by himself and became the photographer of the Granada Film Festival.^[17]

Saura was a close friend of fellow Aragonese filmmaker Luis Buñuel. They met at the 1960 Cannes Film Festival.^[18]

Saura lived in Collado Mediano since the early 1980s.^[19]

Saura died of respiratory failure in his residence of Collado Mediano on 10 February 2023 at the age of 91.^[20][21][22] He was due to receive the life-achievement Goya honorary award the following day during the 37th Goya Awards.^[23]

Filmography

Selected awards and nominations

Notes

References

External links

Wikimedia Commons has media related to Carlos Saura.

• Carlos Saura at IMDb
• Official Webpage in Spanish
• Carlos Saura. Film. Biography and works. Spain in culture: official Website of Culture in Spain. Retrieved 26 January 2014.
• Paul Julian Smith: Cría cuervos...: The Past Is Not Past. DearCinema.com, 13 August 2007. Retrieved 26 January 2014.
• Linda M. Willem (2003). Carlos Saura: Interviews (Conversations with Filmmakers). University Press of Mississippi. ISBN 1-57806-494-5.