September 22, 2014
‘Spain’s cultural scene is being destroyed’
Inevitable’s director Jorge Algora talks about his film and the economic situation of his countryThe Argentine-Spanish co-production Inevitable, directed by Spanish director Jorge Algora (El niño de barro) and based on Mario Diament’s play Cita a ciegas, tells the story of Fabián (Darío Grandinetti), a man in his fifties who has an executive position at an important bank. He’s pretty unsatisfied with his life since he finds no thrills and surprises any more. It even takes the sudden death of a workmate, due to a heart attack, for him to finally realize he’s undergoing a crisis as severe as it is harmful.
In time, and thanks to the advice of a blind old man (Federico Luppi)he meets at a park , Fabián begins a love affair with an attractive sculptor (Antonella Costa), thus putting on the line his marriage with Mariela (Carolina Peleritti). From then on, all hell begins to break loose.
Now in Buenos Aires to present the film, director Jorge Algora spoke with the Herald about what Inevitable is all about.
What's one of the biggest challenges in adapting a play for cinema?
Literariness, meaning the literary nature of dialogue in theatre. You have to get rid of unnecessary words and traits in order to turn them fluent and colloquial enough for cinema. We depurated the text as much as possible, but always bearing in mind not to affect its essence.
What do you personally find most gripping about the main story?
I think that one of the most gripping sides of the conflict is the degradation of Fabián. How low can he sink as a human being? How much grief are we meant to feel for him and how much rejection? We had to find certain gestures and minor actions that would speak of his transformation. Darío Grandinetti was of great help to discover many apparently small features to characterize Fabián.
How was working with this cast?
I’ve always liked the naturalness of Argentine actors. The first thing was to find someone with a certain age and poise, someone with integrity and strength, to play Fabián. Once I found Darío, I needed an actor with almost the same strength, someone who could be an influence on him. That person was Federico Luppi. He tends to play tough guys, and here I wanted him to be a kind old man.
How about the women?
The thing is I had to find the perfect wife for Fabián, a woman with self-assurance and weight. It turned out to be Carolina Peleritti. She usually plays sensual women, or roles in comedies, and this time I wanted her to do exactly the opposite. So now Darío and Carolina, the perfect couple. Who could break their relationship then? There enters Antonella, who at first sight doesn’t seem to be able to make them split up. Yet again, life is filled with contrasts. She can improvise very well, she’s very uninhibited, so she can surprise you in many ways.
In which way viewers would relate with the play?
Emotionally. I would like viewers to be emotionally engaged, little by little, so they can experience the conflicts the film poses. Here in Argentina many people noticed and enjoyed the ironic parts of the dialogue. They laughed at many situations, but it was the kind of nervous laugh typical of someone who feels embarrassed by what's he's seeing, in this case the degradation of the main character.
What about your next project?
Well, the panorama in Spain is quite complicated now. I’m trying to start shooting a new film, but it’s still not going very well. I guess it’ll take some more time. I don’t know how long.
Are you pessimistic as regards the economy?
Sadly, I’m pessimistic. I don’t think the right measures are being implemented. And the cultural scene is being destroyed. There’s some kind of revenge against the cultural areas. And Spain does need the presence of culture to help solve the situation. Movie theatres are being closed, the ticket prices are being raised, there’s an increase in taxes, the industry itself is disappearing. It’s taken many, many years to build all this, but it’s going to take even more time and effort to recuperate all that’s being lost.