<i>El principe destronado</i> (Miguel Delibes, 1973)/ <i>La guerra de papá</i> (Antonio Mercero, 1977) y la tercera vía del cine español

Sally Faulkner

doi:10.3989/arbor.2011.748n2008

Authors

Sally Faulkner Universidad de Exeter. Queen’s Building

DOI:

https://doi.org/10.3989/arbor.2011.748n2008

Keywords:

Miguel Delibes, Antonio Mercero, Daddy’s War (1977), The Dethroned Prince (1973), Third Way Cinema, Spanish Cinema of the 1970s, Literary Adaptation, Middlebrow Culture

Abstract

This articles examines Daddy’s War as an example of Third Way cinema, and considers the reasons for its box office success. First, it compares Delibes’s original novel with the film version. Above all, it considers the use of the child’s point of view (underlined in Delibes’s title) and the treatment of the Spanish Civil War (the focus of Mercero’s title). After analysing Daddy’s War in the context of contemporary Spanish auteur and commercial cinemas, it concludes that Mercero finds a half-way house between both tendencies that was enjoyed by audiences. Thus, the film is an example of Spanish middlebrow culture. Finally, the study considers the links between Delibes’s novel, Mercero’s cinema, and Spanish television today.

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