On location in Spain: Ten amazing facts about film classic Dr Zhivago

To mark the 50th anniversary of the release of David Lean's romantic epic The Local reveals some little known facts about the film's links with Spain.

On location in Spain: Ten amazing facts about film classic Dr Zhivago
Film poster of the 1965 Dr Zhivago

1. Director David Lean originally considered shooting the film in Yugoslavia, but close confidant Eddie Fowlie, who devised the movie's special effects, advised him against it following his own disastrous experience working with the communist authorities on a previous production

2. Incredibly, most of the snow covered scenes in Doctor Zhivago were actually filmed on location in Spain, and during the summer months.

3. Many key technical staff in Doctor Zhivago previously worked on Lean's epic Lawrence of Arabia, including Production Designer John Box and Eddie Fowlie. The director affectionately called his team 'dedicated maniacs'.

“Dedicated maniac” Eddie Fowlie retired to Spain's southern coast. Photo: Eddie Fowlie

4. The film's interiors were shot in Madrid's C.E.A. Studios on the way to Barajas airport. Not far from there the crew turned what had previously been a rubbish tip into a Moscow street as a set for the exteriors

5. To recreate the snow needed to cover vast stretches of countryside, Fowlie used tonnes of crushed, white marble dust. For the falling snow hard polystyrene billets were milled into shavings (thousands of sacks of the stuff were used), and to get the sleighs to slide through the snow in a realistic way, little roller skate wheels were fitted on the runners

6. At the time of filming in the mid-1960s Spain was under the fascist dictatorship of General Franco so you can imagine their surprise when extras were asked to march through the streets singing “The Internationale”, song of the communist revolution and also of Franco's Republican enemies during the Spanish Civil War.

7. Lean was well known for giving actors and crew a hard time. He fell out with Alec Guinness during the making of the film and the two would not work together again for another 20 years. Lean often had Omar Sharif and Julie Christie in tears, and he unceremoniously demoted camera operator Nicolas Roeg (he'd later go on to direct Don't Look Now and The Man Who Fell to Earth). In his place, the role of cinematographer was handed over to the more accomplished Freddie Young, another of Lean's dedicated maniacs

8. The scene where a woman falls under the wheels of a train as she hands over her baby – a prop doll – to Sharif, was not in the script.

The actress was meant to jump aboard but tripped over and fell. Totally unperturbed by the incident, Lean decided to keep the shot in as it was far more dramatic (the woman wasn't badly injured, it should be noted).

9. The body of Yuri's mother in the funeral scene is not played by an actor, it's a waxworks… and the head was molded from Oman Sharif's own face. Young Yuri was also played by Sharif's real life son, Tarek, who was then aged about six

10. The film's most unforgettable set was unquestionably the ice palace in Varykino. Devised by John Box and executed by Eddie Fowlie, it was built in the Madrid studio.

The entire interior set had to be covered in ice, but that wasn't feasible or practical. Making use of his ingenuity, Fowlie covered all the furnishings with hundreds of rolls of cellophane, an ideal material as it could be crushed and flattened to create intricate shapes. He then boiled a cauldron of white paraffin wax, throwing cupfuls of it on the cellophane before spraying it with cold water. It was perfect for creating icicles. Last but not least, he covered the floor with salicylic acid powder – also known as aspirin – and soap flakes, which was difficult for the actors to walk on… exactly as it would have been with real snow

Richard Torne is co-author of Eddie Fowlie's memoirs, “David Lean's Dedicated Maniac – Memoirs of a Film Specialist” published by Austin & Macauley 

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These were the five stand-out Spanish films of 2019

Dramatic, warlike and familiarly comic – the 231 Spanish films released in 2019 offer a remarkable variety of genres but very few truly memorable moments.

These were the five stand-out Spanish films of 2019
Photo: Sara Robertson/Flickr
Andrej Klemencic chooses his selection of the five stand out films of the year in Spanish cinema.
Pain and Glory

As he ages, Almodovar as name outgrows Almodovar as filmmaker and he becomes some kind of Spanish Martin Scorsese – revered when reverence is overdue.

Besides being flushed with nominations and awards when already lacking the something more, whatever, in Almodovar’s case that may have been, both directors have in common that the narrative in their films is delivered in such a way that even with no mastery at play, the experience is always a very filmic one and the viewer is kept entertained at all times.

Almodovar’s latest is no exception as a portrayal of a middle-aged film director, based to a certain point on his own path, who struggles with a colourful palette of obsessions, is dynamic enough and interesting enough to make for reasonably enjoyable viewing. Antonio Banderas performs expectedly well as one who lost touch with creativity and is through humorous and melodramatic circumstances seeing it come back to life.

Colour is vivid, and the supporting actors, including Penelope Cruz, paint a lifelike picture of the post-war Spain of director’s childhood and link it to contemporary Madrid. The lost Spain comes to life so vividly that one could almost recommend the film based on those sequences alone.

Rosalia also features singing beautifully by a river.

While at War

The second major film of the year is “Mientras dure la guerra” by Alejandro Amenabar. As with Almodovar, this director is becoming a household name around the globe. Despite the fact his breakthroughs, in Spain and internationally were colour suspense, Amenabar takes up one of the quintessential topics of contemporary Spain – the Civil War – and turns it into an hour and three quarters of more than passable filmmaking.

The film centers on Miguel de Unamuno,  an intellectual, writer, professor, who at the beginning of the Civil War was the rector of Salamanca University. The film on the one hand explores his inner struggles as he tries not to take sides, and on the other the viewers are shown how Franco emerged as the leader from a group of rebelling generals.

On the first front, the film makes it painfully clear that the Spanish Civil War, in the beginning, a battle between the nuances of grey, some darker and some containing more light, rather that a battle between the unquestionable good and absolute evil. The second interesting insight it provides, is that it attributes Francisco Franco’s ascent to power to a chain of events which seem to be more a fruit of chance rather than of meticulous planning to overthrow the system.

The aged intellectual de Unamuno is in the end forced to take sides, but in his rebellion whose aftermath takes place in a scene in which he is being driven with Franco’s wife in a car, much is said about what lies behind the veil of secrecy that makes so many Spanish ways mysterious to an outsider.

Santi Prego, the actor portraying General Franco is frightfully good and brings the character to screen in a way almost disturbingly real.

Elisa y Marcela

From director Isabel Coixet, considered by some as the leading art-house force of Spanish cinema comes a story of two women Elisa and Marcela who fall in love just before the 20th century begins and live their odyssey from La Coruña, via rural Galicia and Portugal to Argentina.

During one part of their struggle, one of the women takes on a man’s identity so the couple could get married in order for the village voices to leave them alone. Their marriage was never annulled and presented hope for many.

The director shot in black and white. Large landscape stills contrast the emotional and physical intimacy between the women. Some of the ways in which the director chooses to create the dynamics of their first encounters are beautiful and have as backdrop the pure waters of Galician beaches, the forests, mist and frequent but playful rain.

Greta Fernandez is convincing as the only seemingly fragile Marcela while Natalia de Molina does not do as good a job failing repeatedly to move out of the stiff, provincial theatre-like acting, not at all infrequent in Spanish films and on TV. Additionally, as many Spanish film actors for a reason that defies logic, seem not to be taught to enunciate, you will, with Elisa and Marcela, as with a vast majority of films made in Spain, welcome the subtitles even if you are a native speaker.

At some stage in the second part of the film, it becomes quite clear that Coixet is no grand filmmaker as she fails to recognize that some of the staggeringly static moments should never have made the final cut, and this makes the otherwise watchable film not quite easy to recommend wholeheartedly.

Who Would You Take With You on a Deserted Island?

Two couples, a Madrid apartment, a TV film and closeted homosexuality as the main topic. This unpretentious work is the second feature by director Jota Linares and talks about four youngsters moving out of a shared apartment after a decade or so of flatmating.

Different to the bravery of Elisa and Marcela, the same sex relationship between two characters is hidden from the viewers for the large part of this Netfix flick as well as from the remaining two roommates themselves.

Predictably enough, drama ensues as the revelation is made and the relationship between the four takes on a dimension seemingly leading into a tragic crescendo. Yet there is a half twist in the second part making the film not as predictable.

The four actors move between Greek tragedy and a modern urban drama. The interiors are naturalistic, and the direction does not get in the way of the narrative.

As a curiosity, actress Maria Pedraza who until accepting a role in the non-highly-rated series Toy Boy was seen as one of the rising stars of the Spanish cinema, pairs here for the third time with Jaime Lorenta with whom she shared TV screen in series Money Heist (2017) and Elite (2018).

Los Japon

Ocho Apellidos Vascos goes to Japan losing much of its humour along the way.

Since the film from 2014 with English title “Spanish Affair” capitalized on a long list of prejudice the residents of the Basque Country seem to have of Andalusians and vice versa, grossing more than 75 million dollars in box office, Spanish filmmakers have been trying to replicate the successful recipe.

While Ocho Apellidos Vascos was genuinely funny, its first sequel, Ocho Apellidos Catalanes was much less so, and the third attempt at stereotyping, this time moving to international waters, echoes little of the sparkles the original film brought.

This time an Andalusian, a descendant of a Japanese who centuries ago moved to a town close to Seville, turns out to be the only heir to the Japanese throne. He and his family move to Japan and you can pretty much figure out the rest.

Series of jokes, some a bit funny, are based mainly on basic stereotypes and are followed by jokes based on even more basic stereotypes and so on.

If you for some reason find Dani Rovira, the star of Ocho Apellidos Vascos irresistibly funny and you crack at every Andalusian joke you just may be able to get through the film.