The phenomenon of Lola Flores survives 27 years after his death. She was a total artist, with an undeniable talent and goblin, as well as a transgressive woman, ahead of her time. A pop icon. However, the last audiovisual on his figure dates from 1993, ‘The Courage to Live’, that she presented herself. With the aim of recovering the life and career of a complete and complex artist and, above all, of bring your figure closer to those generations that they only remember her anecdotal episodes like the hackneyed “If you love me, go away & rdquor ;, Movistar + premieres this Thursday, 28. the ‘docuserie’ ‘Lola’, created and directed by Israel del Santo (‘El Palmar de Troya’).
The production of 100 Balas (The Mediapro Studio) makes, in its four chapters, a journey through the artist’s biography that, according to Del Santo, could be considered by her attitude “The first Spanish punk, something that in 1947 was very difficult & rdquor ;. The director says that he wanted to make a series that could be seen today. · “A ‘biopic’ told in another way and in which we do not forget the artist to remain only with the saga of the Flowers and in the anecdote & rdquor ;.
From Rosalía to C. Tangana
Actually, the ‘docuserie’ is not aimed at the unconditional fans of La Faraona, although they will find those great moments that he shared about him stage with Manolo Caracol which, the director maintains, were surely the most critical of his career. Rather, it is intended for those who do not know it, despite having spent five decades in the forefront. “The younger people will enjoy the format upon discovering that her great idols have influences from her. “You will see that Rosalía owes a lot to Lola Flores, that C. Tangana is inspired by The Pescaílla So what Nathy Peluso remember the power she had & rdquor ;, details.
They will be the ones who tell it, because there are some of the 44 interviewed, among which are – “because Lola Flores is transversal to five decades & rdquor; -, several generations of artists, such as Alaska, Javier Gurruchaga, Martirio, La Mala Rodríguez, José Póveda, María José Llergo… and journalists. In addition to his biographers. His daughters intervene on behalf of the family, Lolita, Rosario, and his sister, Carmen Flores. Lolita and Rosario appear as witnesses of his private life, because they have had access to things that nobody knows. “But we have not fallen into the trap of ‘the saga of the Flowers’. Your children are not the protagonists. The exclusive protagonist is Lola Flores & rdquor ;, he warns. Although he recognizes that they are great artists. “Lolita has a Goya, while all her mother’s films were terrible & rdquor;” he points out.
A luxury storyteller
The ‘docuserie’ has a luxury storyteller: Lola Flores herself. And this is not some virtual 3-D recreation. It is not necessary, because “the material that is preserved of the artist is huge, since Lola Flores covered the media for four decades & rdquor ;, recalls del Santo. With which he has had images extracted, in addition to ‘The courage to live’, from the two mythical interviews he did ‘the madman on the hill’ Jesús Montero and many others scored by José María Íñigo when we have the information. “We are going to see a very funny world of a different TV, with journalists like Jesús Hermida & rdquor ;, he points out. The ‘docuserie’ also includes those moments in which La Faraona presents her own programs and even interviews herself. “Moments as crazy as ask Montserrat Caballé. ‘And you, Montserrat, ¿you would have liked to be Lola Flores? ‘ That’s my favorite & rdquor;, confesses Del Santo.
In the four chapters everything is told without betraying the deceased, because she had already revealed everything. “I’m not going to tell something that nobody doesn’t know & rdquor ;, says the director. Only what had been published will be denied: “Neither sing nor dance, but don’t miss it& rdquor ;, and it wasn’t. “That is one more legend than there is about Lola. But she told what happened and what didn’t happen too & rdquor;, she acknowledges. Because it is shown that not very reliable like his own biographer. It was a fantastic ‘Lolita. “In an age when there was no Instagram, Twitter, or Facebook, I had an amazing ability to reinvent myself, to create a character & rdquor ;. And he says that although in English he only said ‘ozú’, he assured that he had had long talks with Churchill, Onassis, Gary Cooper, Marlene Dietrich, Ava Gardner…”. The other resources
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One of the resources used to illustrate the narrative is film clips. Finding material has not been difficult, because it abounds, and the help of the Flores family has been vital, but there is also a meticulous documentation work. “We have had to deal with Colombia, Bolivia, Cuba, the United States, Fancia, Italy … and practically all the Spanish media. We have even been able to contribute hitherto unreleased audios which he recorded with a cassette, which we illustrate with animation “, he explains. Animation, another resource. Because Del Santo was always very clear that could not recreate fictional parts, how well they worked in ‘El Palmar de Troya’: “They could not compete with any moment in which she appeared on television or acting or dancing, because, when she did, the camera seemed to stop & rdquor ;, he maintains. to tell very hard parts of his biography as abortions, abuse and prostitution, they opted for animation by the artist Mateo Mariotti.
The series also attempts rescape your mood. “It was a great comical, very intelligent, because to have a sense of humor you have to be. And that gave him an extraordinary power. Every time he got close to a camera or a microphone to talk, I would raise the bread& rdquor ;. As several of the interviewees say in the ‘docuserie’, if he lived now, he would ‘hit it’ on Instagram, Facebook and it would be a regular ‘trending topic’ on Twitter. Del Santo assures that Lolita and Rosario have really enjoyed watching ‘Lola’ and dares to assure: Lola herself would have loved it, he would have had a great time & rdquor ;.
Reference-www.elperiodico.com