On September 29, 2020, filming for “Juan Mariné. A century of cinema” began, a documentary, scripted and directed by María Luisa Pujol, which narrates the life and career of the almost centenarian cinematographer and restaurateur Juan Mariné, promoted and produced, in part, by the Aula de Cine Fundación Josep Collection M. Queraltó, of which Mariné is one of its Patrons of Honor.
The filming has been planned with two units, one in Madrid and another in Barcelona and Lérida. The one that began in Madrid has Andrés Torres AEC, a former student of Juan Mariné, as its director of photography, and its settings include the Spanish Film Library, the Prado Museum and the School of Cinematography and Audiovisual of the Community of Madrid (ECAM). . The Barcelona unit, which has Juan A. Fernández AEC as director of photography, will begin filming in the coming weeks.
“Juan Marine. A century of cinema” is a documentary that presents and vindicates the figure of Juan Mariné Bruguera, a man of cinema who turns one hundred years old on December 31, with a long professional career. He takes a tour of the different stages and areas in which he has performed brilliantly: as a director of photography, specialist in special effects and tricks, lecturer, conservator and restorer. The documentary covers from his beginnings, in 1935, when black and white films were made, his experiences during the Spanish Civil War, to his last stage at the Spanish Film Library and at the ECAM. The documentary is also a tribute to Spanish cinema.
The story of Juan Mariné has many attractions to awaken the viewer’s interest and which are revealed in the documentary. Firstly, his work as a director of photography, due to his participation in the most emblematic and popular films of Spanish cinema for more than five decades. Renowned artists who have marked an era have passed through the lens of his camera. Hundreds of anecdotes that he has lived in the 140 films he has made, authentic adventures worth telling. Also for being a pioneer in introducing technical innovations such as making the first color film in “La gata” (1956) by Margarita Aleixandre and Rafael M. Torrecilla in Spain. He worked a lot on light and the qualities of the film. The most difficult night scenes were resolved by raising the film handle number to the maximum, which meant that it could be filmed in low light. This fact avoided costs for the producer since he was not forced to rent lights. This has been another of Mariné’s qualities, putting herself in the producer’s place and reducing the costs of filming whenever she could.
Logically speaking about Mariné and his long career also means taking a tour of the history of Spanish cinema, reviewing dozens of films that have forged a rich cinematography of varied genres, but unknown among young people.