More than an actor, a magnificent actor and a better person, Arturo Fernández was a living institution. As it was acting and touring throughout Spain until almost yesterday. With his own company, something unusual in what remains of that Spain in which the greats of the copla and the magazine, the ladies of the theater, with their gallants and first ladies had their own company and – although it seems a remnant of that Spain in black and white that the subsidized progress does not want to come back – they were financed without state aid. They went to the box office with the theater.
Thus the great theatrical dynasties were forged, with their incursions into the cinema, and some of them, like the Great Arturo Fernandez went from cast actor to young gallant and once caught the tranquility to that eternal mature gallant of ample registry that he endorsed in the 90s on television and no longer abandoned, repeating the role of a mature comedy lover until the last days of his dressing room dressing room with "Alta seducción".
Born in Gijón, in 1929. As an anarchist father fled Spain after the Civil War. At the age of 21, he moved to Madrid to succeed in cinema, obtaining posters in religious movies of Cifesa, directed by Rafael Gil: "The Kiss of Judas" (1954), "The Lady of Fatima" and "The War of God" , without accreditation.
Arturo Fernández's true career in cinema runs parallel to his apprenticeship in the repertoire theater. First in the Chamber Theater and Essay, to join then in the two great companies of the 50s, that of Rafael Rivals and that of Conchita Montes.
In the cinema, the plant of serious and somewhat cynical gallant led him to play roles of thief, gangster and chop in films of the first Spanish black cinema, many of them Franco-Italian co-productions. The so-called French "polar" marked the style of the police and robber police genre imposed by American cinema after the diaspora of McCarthyism in Europe. "Rififi" (1955) by Jules Dassin imposed his way of focusing the films of ingenious robberies, unreliable thieves, fatal vampires who sang in a cabaret like Gildas de arrabal.
In Spain, the architect of the best films of cops and thieves was Julio Coll with "Distrito Quinto" (1957) and "Un vaso de whiskey" (1958), Los cuervos (1961), with jazz music by maestro José Solá. "In Cold Blood" (1959) and "Return an Unknown" (1961), both by Juan Bosch.
This first stage of apprenticeship in the black cinema, with papers of turbaned gallant and grimace of evil, closes with the success in color of "Bay of Palma" (1962), with a flirt paper of Swedish in the wonderful Mallorcan beaches , nothing less than with the international actress Elke Sommer, in a bikini.
After a multitude of roles in the comedies of the unveiling, Arturo Fernández, set as a nice and conquering heartthrob with the film "Truhanes" (1983), where he returns to play the nice guy and handsome truhan, along with Francisco Rabal. Success they repeated in a television series of the same title, "Truhanes" (1993-1994).
Two years later, Arturo Fernández achieved something unusual in Spain with a television series: to be one of the most talented actors in Spanish cinema, theater and television, and to conquer the hearts of Spanish housewives with "La casa de los messos" ( 1996-2000). Nothing less than four years of success without palliatives, putting in fashion his famous "chatina" and "that you caneo", to date. He died at 90 years old.
In 2014, he embarked on a function written by the playwright Albert Boadella to show off the great actor who was always Arturo Fernández, "Ensayando a don Juan". Boadella then said: "Arturo has been a formidable actor to which my colleagues, the directors of my generation, had not taken advantage, unfortunately, neither in his great talent for seduction to the public as an actor, nor of course his character as a tireless worker. . Perhaps in this sense it is the only thing that could be regretted that Arturo was not born in France or England, or in Italy, where his career as an actor would have been much broader and more varied than it has been between us. "
The same thought Italian directors who directed it, lamenting that this Spanish Nino Manfredi had not had the same opportunities to show off with the great European directors.