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Thursday, June 30, 2022

“How would Tony do that?”

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Tony Partearroyo died on Friday June 17, just before his 65th birthday. He had been away from the profession for years, but he never gave up his love of cinema. He devoted all his talent and intelligence to observing, analyzing and trying to inspire in us the same excitement he felt. Many companions are remembering the enormous impact that their very special way of watching films left on them.

He was born in Madrid on July 8, 1957. He studied medicine, specializing in psychiatry, but as he fondly recalled, he quoted rapture, he didn’t like the cinema, the cinema liked him. After he was able to surprise at several film festivals with his first film as a director, the short film everyday black (1979) he began to devote himself professionally to film criticism and analysis. In the 1980s he worked as a screenwriter for specialized television shows such as Mythical row 7 de Televisión Española (1982-1985), thanks to which he had the opportunity to interview great personalities from the world of classic and auteur cinema. also directed The essence (1982), an adaptation of a Roald Dahl short story that mixed comedy with the unusual, and from the second half of the decade devoted himself to criticizing firsts in the same newspaper.

Partearroyo was a film researcher and essayist, he published monographic works on John Sayles (1994), Gregory La Cava (1995) and Tod Browning (1996) as well as numerous interviews in the magazines White House Y opus zero. In 1994 and 1995 he was an advisor to the San Sebastián Festival, which was directed by Manuel Pérez Estremera during that period, and he was involved in the selection of films for the official section.

Above all, he devoted his best to film promotion on Canal +. During his time with this chain, from the 1990s to 2006, he developed cinema code (2004-2005) and co-author within the format The night of…a series of specials to accompany the cinema programming the chain reserved for its schedule prime time. All these specials are of tremendous value to know and enjoy the great masters of cinema. Among them could be highlighted Polansky and evil eyes, no matter what, New Spanish Cinema, Coppola: a man and his dreams, Ripstein: Go through humor and death, Woody Allen: life and nothing else either cabaret lights. His last special, perhaps his best work, was devoted to comedy, a genre he considered cinema’s great mystery. He captioned it with the phrase that adorned Billy Wilder’s office: How would Lubitsch do that? His colleagues and friends said these days that in the aisles of Canal +, faced with an important decision, they often ask themselves: “How would Tony do it?”

He always wanted to go his own way and many people had lost track of him lately, but it was exciting to feel that despite the years he had left an indelible memory on so many people he worked with throughout his career and was friends. . It is a pride to bear his last name and to always remember him as if he were the character of Eusebio Poncela, who reads pictures and searches for the definitive essence of cinematography.

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Manuela Partearroyo She is a bookseller and essayist, author of “Luces de Varietés” (Ediciones La Uña Rota, 2020). He writes regularly about literature and cinema in Vogue, Cinemanía and Makma.

Source elpais.com

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