| Angelino Fons | |
|---|---|
| Born | Angelino Fons Fernández July 6, 1936 Madrid, Spain |
| Occupation | filmmaker |
| Years active | 1966 – 1991 |
Angelino Fons Fernández (March 6, 1936, Madrid – June 7, 2011), was a Spanish film director and screenwriter.
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Angelino Fons was born on March 6, 1936 in Madrid, just months before the beginning of the Spanish Civil War. He grew up in Murcia and Orihuela, where he moved with his family in 1940, there he studied at the Jesuit school of Santo Domingo in Orihuela, Alicante. He entered the University of Murcia to study Philosophy and Literature. Abandoning his studies at the University of Murcia, Fons returned to Madrid to be trained as a film director and entered the national film school (IIEC), graduating with a specialty in directing in 1960.[1] Closely associated with Carlos Saura during that director first decade as a professional filmmaker, Fons collaborated on a number of Saura’s scripts during the early 1960s, receiving screen credits for La Caza (1966), Peppermint Frappé (1967) and Stress Is Three (1968), as well as Francisco Requeiros’ Amador (Lover) (1965).[1]
Fons made his own directorial debut in 1966 with La Busca (The Search), a modern day adaptation of a novel written by Pio Baroja, marked by a sense of critical realism reminiscent of Miguel Picazo’s La Tía Tula (Aunt Tula).[1] The Film was extremely well received and, as a result, Fons basked in critical adulation for a number of years as one of the most promising of the young filmmakers of the generation of New Spanish Cinema of the second half of the 1960s. The Search was followed two years later by the mediocre musical Cantando à la Vida (Singing to Life) (1968).[1]
In 1969, Fons began a collaboration with the producer, Emiliano Piedra, directing a weak adaptation of the Perez Galdós novel Fortunata y Jacinta (1969) with the producer’s wife Emma Penella, in the lead.[1] This was followed by La Primera Entrega (The First Delivery) (1971), with even less favorable critical results. Fons directed another Perez Galdós adaptation the following year, Marianella (1972), but it was becoming increasingly apparent to critics and audiences that the promise shown in his first film had largely dissipated.[1] Even a collaboration with Carmen Martí- Gaite, in an adaptation of one of her stories Emilia... parada y fonda (Emilia) (1976), scripted by the novelist herself, did little to alter the apparent downward course of Fon’s filmmaking career.[1] By the early 1980s, Fons was directing cheap comic sexploitation films such as The Cid cabreador (The Vexing Cid) (1983).[1] He retired as film director in the 1980s.
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