Alberto Isaac

Alberto Isaac Ahumada (born the March 18th 1925 with Mexico City - died the January 9th 1998 in Mexico City) was a Olympic Nageur Mexican, as well as a Réalisateur, Scénariste, Acteur and Producteur of Cinéma. It was also critic film, Caricaturiste, and member of the Mexican Institut of Cinematography.

Biography

Childhood and first years

Alberto Isaac Ahumada nacquit with Mexico City in 1925. His/her father being deceased whereas he was only one young child, he was high in the state of Colima by three of his aunts and an uncle, who directed a cinema. He followed studies to be a professor, but devoted to teaching only very little time. It went back to Mexico City, where it wrote in the section of the sports of a Quotidien and quickly became Caricaturiste for the review Esto of the group OEM. Then it became Editor association of the section entertainments, at the same time as it took part in the newspapers El Universal , El Sol of Mexico City , and Novedades .

Olympic years

Alberto Isaac was also a Olympic Nageur of level . In 1941, he was the first Mexican to swim the hundred meters freestyle in less than one minute, with Havana, Cuba, with 59 seconds 08. Called the arrow of Colima , it swam with the Jeux of London in 1948, and with the Jeux of Helsinki in 1952.

The years 1950

In the Years 1950, Isaac sought other means of expression. While preserving its roles of writer, editor association, and draftsman, it was exerted in particular with the Céramique. It is besides certainly in this trade that it met the ceramist Hugo Velásquez who will appear in two of his films.

First steps with the cinema

In 1964, the STPC opened with the public the First Contest of Experimental Film , which claimed to give to new talents opportunity of entering the industry of the Mexican Cinéma, then very closed. Isaac saw the occasion dreamed there to try its chance. Thirty realizers amateurs took part, twelve films were presented, and Isaac gained the second price with In este pueblo No Hay ladrones . Isaac and the critic film Emilio García Riera had decided to adapt a news of their friend Gabriel García Márquez, then unknown. The film was made in three weeks with Mexico City and Cuautla, by parsimoniously using a restricted budget. He tells the history of a young instigator of troubes (incarnated by Julián Pastor) concealing the billiard balls of the local gaming room, only source of distraction of the small village. One can see appearing in this film true a Who' S Who of the Mexican artistic scene of the time: Shine Buñuel, Arturo Ripstein, Alfonso Arau, Jose Luis Cuevas, the writer Juan Rulfo, the caricaturists Ernesto García Cabral and Abel Quezada, the actress Elda Peralta, the critic Carlos Monsiváis, like Isaac, its Lucero wife, García Riera and García Márquez themselves.

This film was a success, but Isaac had to wait three years before the producer Alfredo Ripstein Jr. (the father of Arturo) makes it possible to him to direct Las visitaciones LED diablo (1968).

Documentary sportsmen

At the end of the Years 1960, Issac reconciled its two passions, the Cinéma and the Sport, while directing two Documentaire S on two major events being held with Mexico City: the Olympic Games of summer of 1968 and the Football world cup of 1970. This second film, presented like a Fiction, also appeared under the name The World At Their Feet .

The Mexican new wave: the Echeverría years

Shine Echeverría, president of Mexico of 1970 with 1976 offered to the scenario writers a new ground of expression, by slackening the cinematograhic and televisual censure, and in their opening new subjects such as the policy. After the personnel Los días LED amor , Isaac was engaged by the Studios Churubusco for El rincón of mow vírgenes (1972). Then the company of state CONACINE produced Tívoli (1975), Cuartelazo (1977), and Las noches of Paloma (1978). Alberto Isaac was then a close relation of Echeverría, which it accompanied with the Chile at the time of an official trip in 1972.

These five feature-length films are all of films of time: Los días LED amor is held in 1927, El rincón of the vírgenes in the Années 1920, Tivoli at the beginning of the Années 1950, Cuartelazo and Las noches of Paloma during the Mexican Révolution. The inspiration shares between the Autobiographie (the recurring use of Colima), stories of Juan Rulfo ( El rincón of mow vírgenes ), the tales grivois of Boccace ( Tired noches of Paloma ) and the History ( Cuartelazo )

During this period, Isaac called in a recurring way upon the same actors. One can quote Jose Luis Cuevas, Alfonso Arau, Arturo Beristáin, Héctor Ortega, Juan Jose Martínez Casado, Pancho Córdova, and Dolores Beristáin.

The Portillo years

With arrival to presidency of Jose López Portillo in 1976, commission of monitoring televisual was installation, STN, chaired by Margarita López Portillo (sister of the president), which approached a policy conservatist, and reduced the budgets allocated to the film productions of state. Realizers such as Alberto Isaac, Felipe Cazals, Jorge Fons or Jose Estrada had problems as from this time. Alberto Isaac wrote criticisms in the Esto magazine, which was worth with all the Isaac of Mexico to be blacklistés of cinema industry during the mandate of Margarita López Portillo. Two projects of films were cancelled under the influence of the STN, and Isaac was finally returned magazines Esto and El ground of Mexico City .

During this sexennat difficult, Isaac carried out only one feature-length film, the drama Tiempo of lobos , in 1981.

The years 1980

In 1980, Isaac was member of the jury of the Berlinale. In March 1983, it was named with the head of the new whole Mexican Institut of the Cinema (the IMCINE), until its resignation in 1986. It organized a new contest of experimental cinema there, in homage to that which had opened the doors of the trade to him twenty years earlier. In 1986, Isaac joined again with success thanks to Mariana, Mariana , based on a novel of Jose Emilio Pacheco. The film gained eight Ariels, the cinematographic distinction highest of Mexico. In 1988, Isaac partly reformed the team to direct ¡ Maten has Chinto! , Black film which describes the unexplained access of violence of a manager of hotel, precipitating the bloody exit of a taking of hostages.

Last years

In 1993, Alberto Isaac published a book of discussion with the director of photography Gabriel Figueroa. It carried out its last feature-length film, the comedy Mujeres insumisas , in 1994. The film accepted sixteen nominations in Ariels, and gained two prices: Female best supporting role and Better assembly.

In 1997, one month before its death, it announced the pre-production of a film entitled Señas of identidad , inspired of a novel of Jose Emilio Pacheco on the Massacre of Tlatelolco in 1968. But the economic crisis which the Mexico knew after 1994 was worth with the project not to be born.

Alberto Isaac also devoted its last years to painting. In 1994, it made its first exposure to Colima, then with the Université of Guadalajara in 1995. He died the January 9th 1998 of an cardiac arrest. He was incinerated, and his last wife Julieta Sanjuan disseminated her ashes with the top of the ocean.

The family

Alberto Isaac was married fourteen years with Lucero, which worked on several films of her husband (until Tiempo of lobos ), and made some appearances with the screen. She had her own career as a Scénographe with success. She gained four Ariels.

The son of Alberto and Lucero, Claudio, walked in the traces of his father as an artist and a scenario writer. After being appeared like Caméo in several films of his father, it carried out its first feature-length film at 20 years, Crónica íntima (1976). Its career was also opposed by Margarita López Portillo.

In 1984, Isaac remaria with Julieta Sanjuan.

Catalog of films

Like realizer

See also: : Category: Film carried out by Alberto Isaac

As scenario writer

  • 1965 : In este pueblo No Hay ladrones of itself
  • 1968: Tired visitaciones LED diablo of itself
  • 1969: Olimpiada in Mexico City of itself
  • 1972: Los días LED amor of itself
  • 1972: El rincón of mow vírgenes of itself
  • 1975: Tívoli of itself
  • 1977: Cuartelazo of itself
  • 1981: Tiempo of lobos of itself
  • 1981: ¡ Pum! of Jose Estrada
  • 1990: ¡ Maten has Chinto! of itself
  • 1995: Mujeres insumisas of itself

As producer

  • 1965 : In este pueblo No Hay ladrones of itself

As actor

Cinematographic distinctions

Rewards

Nominations

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