(Published by El Nuevo Herald, Friday, Sept. 24, 2004)
When I saw him at the door of my house I thought he was a resurrection of Fujita, because he was the living likeness of the Japanese painter living in Paris in the 1920s. His hair was evenly falling over his forehead making his eyes look oriental--everything about him reminded me of the painter. Well, these are the first impressions that later on vanish, deconstructing that person the next time our eyes focus on them.
In the case of Agustin Blazquez it is easy to realize that he was not Fujita, but a different being, emanating from himself, who knows if he is a relative of the famous Spaniard writer, nonagenarian Blasco Ibañez, but I could more accurately present him as a tenor, because that very special voice of his presides as a visiting card.
I am not far off; Agustin Blazquez was an actor and a singer in Cuba, he mentioned to me, and many years ago worked in theatrical companies in Havana. For sure, everybody knows him now for what he is, a film director with three fantastic documentaries, the most recent, Covering Cuba 3, about the case of the boy Elian Gonzalez, which was a success at the American Film Renaissance Film Festival in Dallas, Texas.
Agustin traveled from the Washington, DC area to participate with his film as a guest of the festival and while in Texas, on Sunday, September 12 he came to La Casa Azul in Fort Worth and presented Covering Cuba 3: Elian. He was accompanied by Jaums Sutton, his assistant and interviewer in his various films and co-editor of his articles and books.
The impression you receive when you see Covering Cuba 3: Elian is totally new and surprising, although the Elian theme by itself is too well known and could result in a hard to do piece when you want to create art. But Agustin has done it. He achieved the emotion and made us shed tears with his true-cinema and his denunciations.
But it is here, in this word – denunciation – where I want to pause and call your attention. Because I want you to understand that it seems there are “denunciations” and “denunciations.”
When Communists use propaganda to denounce something, immediately there are receptive ears, there are mouths multiplying, cameras that work, newspapers giving all types of coverage and front page exposure. But when someone that is categorized a “conservative” makes a denunciation about a situation, makes art with this denunciation, the result is an immense void, a profound silence, an unhealthy indifference.
If you could talk with Agustin Blazquez, he could tell you better than myself of the frustrations of his experiences. First as a painter and sculptor - for years he tried to make it as such – and later his uncountable efforts to show his films in this country. To date all would have been negatives. For example, recently the American Film Institute (AFI) and a film festival associated with the AFI in Maryland as well as the Maryland State Arts Council rejected Covering Cuba 3: Elian. It did not fit the political taste of the sponsors.
So when he was invited by the Dallas film festival, which intended to show the other side of the coin, the filmmaker and painter (former actor and singer) packed his bags and drove all the way to far away Texas, where his presence and his art were being requested. Indeed Covering Cuba 3 received all the deserving applause.
However, these days have been a non-stop roller coaster of emotions for Agustin Blazquez, who – thanks to the rudeness in Maryland – received a reaction from some in the media. A wonderful editorial in the Wall Street Journal about him and his work set him in orbit followed by a live interview at the Fox News Channel. And while in Dallas, the local CBS did the same in relation to his Elian film.
But for example, when we sent a press release to the Star Telegram in Fort Worth announcing Covering Cuba 3 and his presence at La Casa Azul (Heberto Padilla Cultural Center), what we got was a four-line ad among the ethnic activities on the calendar celebrating Hispanic Month. That in spite of the photos of the film and the director they requested which were promptly sent.
Everybody knows that conservative is a “bad word” and the Dallas film festival seemed to be such, so the newspapers appear to use that classification to treat as junk all of the participants. So, that’s why Agustin Blazquez and La Casa Azul didn’t deserve anything better from the Star Telegram nor La Estrella, their Spanish counterpart (that totally ignored the press release).
Could it be in fashion someday--the word “conservative”? A friend asked me, What’s wrong with being a conservative? I mean, to believe in God, in the family, in some moral values, to believe that abortion is a crime and of course don’t play with the Communists?
There are dictatorships of the right and the left? Of course, but the first type you can almost always can get rid of, but the Communist ones, as we say in Cuba, fall only by “holding the tin cup to the fire til the bottom melts.”
The real “conservative” is the one that of course is loyal to the traditional values of justice and rejects outright any dictatorship.
Truly, for me, the word conservative equally defines anyone from the right or the left who grasps at his ideas (sometimes with the extreme stubbornness of the liberals and the anti-imperialists). The ultraconservatives and fundamentalists are Fidel Castro himself and his Latin American associates, as well as all these characters of the horrible left and that Hollywood “star” fauna giving their stupid opinions and those that don’t want to see any other documentaries than the one of the pathetic Michael Moore.
Agustin Blazquez is a complete artist, a renaissance man, a character that breaks the parameters of the definitions, so it’s better that we don’t classify him but in the place where he belongs, in the landscape of the great creators and Covering Cuba 3 is a good sample of what I mean. If you haven’t seen it, run and do it and tell me about it.
I am sure you are going to agree with Bill, a humble American and a neighbor of La Casa Azul, who thinks that all the youngsters in this country must see Agustin Blazquez’s film.
(The film is available on DVD at http://www.cubacollectibles.com)
