Daniel Montorio y Eduardo G. Maroto: Los cuatro Robinsones (1939), del juguete astracanesco al cine musical
2018; Sociedad Española de Musicología; Volume: 41; Issue: 1 Linguagem: Inglês
ISSN
0210-1459
Autores Tópico(s)Cinema History and Criticism
ResumoespanolEl articulo situa la produccion del compositor Daniel Montorio (1904-1982) en el cine espanol de la Republica. Montorio trabajo con los mejores directores del momento y participo en las peliculas mas emblematicas de la epoca. Partiendo de la estrecha relacion entre cine y teatro, y de una politica de adaptaciones teatrales habitual desde los anos veinte, la comedia se convierte en uno de los generos mas paradigmaticos del cine nacional durante la Republica, y lo seguira siendo durante el franquismo. La comedia (en todas sus variantes) proponia una fusion de tradiciones: los musicales de Hollywood, el teatro nacional (particularmente el teatro bufo y la revista), la opereta y el cine frances. El articulo indaga en la colaboracion entre Eduardo Garcia Maroto y Daniel Montorio antes de la Guerra Civil, y presenta un estudio minucioso de un film historico: Los cuatro robinsones (1939), primera produccion de Cifesa tras la Guerra. Se profundiza en los pormenores de la adaptacion del juguete de Munoz Seca y Garcia Alvarez (1917) y su banda sonora musical, tanto los seis numeros diegeticos (hibrido de ritmos y generos) como la musica incidental, confirmando la influencia del cine americano y frances (sobre todo de Rene Clair), y que la musica era un instrumento fundamental para la parodia. EnglishThe article situates the work of composer Daniel Montorio (1904-1982) in the Spanish cinema during Second Republic. Montorio worked with the best directors and contributed to the most emblematic films of his times. Considering the close relationship between cinema and theater, and originating in a policy of theatrical adaptations common in the 1920s, comedy became one of the most paradigmatic genres of national cinema during the Republic, and it continued to be so during Franco’s dictatorship. Comedy (in all its genres) proposed a mixture of traditions: Hollywood musical, national theater (particularly comic theater and the revue), the operetta, and French cinema. This article explores the relationship between Eduardo Garcia Maroto and Daniel Montorio before the Civil War, and presents a detailed study of a historical film, Los cuatro robinsones (1939), Cifesa’s first production after the War. The article goes into depth regarding the adaptation of the juguete by Munoz Seca and Garcia Alvarez (1917) and its musical soundtrack, both the six diegetic numbers (a hybrid of rhythms and genres), as well as the incidental music, confirming that composer and director knew the methods of the American and French cinema (particularly Rene Clair), and that music was a fundamental instrument of the parody.
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