
Don Juan, the womanizer, boasts that there is no love affair that can resist him without knowing the tragedy it can cause..

The first time I saw Ricardo Fuster’s Don Juan swagger out of Andalusian fog—cape snapping like a black flag—I felt the same jolt I got stumbling upon a candle-lit Caravaggio after closing time: sudden chiaroscuro, moral whiplash, the sense that beauty and rot share the same pulse. De Baños’s 1952 adaptation does not...


Comparing the cinematic DNA and archive impact of two defining moments in cult history.

Ricardo de Baños

Wilfred Lucas
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" The first time I saw Ricardo Fuster’s Don Juan swagger out of Andalusian fog—cape snapping like a black flag—I felt the same jolt I got stumbling upon a candle-lit Caravaggio after closing time: sudden chiaroscuro, moral whiplash, the sense that beauty and rot share the same pulse. De Baños’s 1952 adaptation does not merely film Zorrilla’s 1844 chestnut; it distills it into a phantasmagoric shot of absinthe. The celluloid itself seems dipped in verdigris: every frame corrodes at the edges, as ..."
Julio López de Castilla
José Zorrilla, Ricardo de Baños
Spain


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