By Rob Stone
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Additional resources for Julio Medem
5] Perhaps, after so much tortuous, adolescent introspection, Medem’s delightful experience of dissection should not be undervalued for it carries a personal echo of the development of the sciences in the eighteenth century and the consequent denigration of spirituality in favour of a new focus on the body as the source of life’s ills and fortunes. Thanks to medical research, which explored and charted the skeletal and muscular basis of human expression, the body became responsive and objectified and the concept of identity was transferred from a consideration of one’s spiritual health to a notion of individuality that was contained and supported by the physical body.
Recycling is even more evident with Mari en la tierra, for Medem drew on this script based on the legend of a Basque witch in order to guide the actress Silke in her characterisation of Mari in Tierra. During that film’s shoot he even proposed the filming of Mari en la tierra by a crew of ten on 16mm in black and white as an appendix to the main feature, but his producers baulked at the expense. Instead, he reworked the script into a diary for Mari that was published with the script for Tierra by Planeta (Medem 1997).
This killing removed the most serious obstacle to reform and allowed for Spain’s relatively peaceful 22 Julio Medem and administrative transition to democracy following the death of Franco on 20 November 1975. Says Medem: ‘When Carrero Blanco was killed, I said it was a good thing. Then when Franco died everyone was distraught except for a Basque friend and I. We celebrated his death with champagne in the schoolyard’ . Spain changed so quickly then that Medem, like many of those who came of age at such a momentous time, was disoriented by the choices thrown up by political, social and moral flux.
Julio Medem by Rob Stone