Age, Biography and Wiki

Tomás Gutiérrez Alea was born on 11 December, 1928 in Havana, Cuba, is a Director, Writer, Editor. Discover Tomás Gutiérrez Alea's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of Tomás Gutiérrez Alea networth?

Popular As N/A
Occupation director,writer,editor
Age 68 years old
Zodiac Sign Sagittarius
Born 11 December 1928
Birthday 11 December
Birthplace Havana, Cuba
Date of death 17 April, 1996
Died Place Havana, Cuba
Nationality Cuba

We recommend you to check the complete list of Famous People born on 11 December. He is a member of famous Director with the age 68 years old group.

Tomás Gutiérrez Alea Height, Weight & Measurements

At 68 years old, Tomás Gutiérrez Alea height not available right now. We will update Tomás Gutiérrez Alea's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
Height Not Available
Weight Not Available
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Who Is Tomás Gutiérrez Alea's Wife?

His wife is Mirta Ibarra (? - 17 April 1996) ( his death)

Family
Parents Not Available
Wife Mirta Ibarra (? - 17 April 1996) ( his death)
Sibling Not Available
Children Not Available

Tomás Gutiérrez Alea Net Worth

His net worth has been growing significantly in 2022-2023. So, how much is Tomás Gutiérrez Alea worth at the age of 68 years old? Tomás Gutiérrez Alea’s income source is mostly from being a successful Director. He is from Cuba. We have estimated Tomás Gutiérrez Alea's net worth , money, salary, income, and assets.

Net Worth in 2023 $1 Million - $5 Million
Salary in 2023 Under Review
Net Worth in 2022 Pending
Salary in 2022 Under Review
House Not Available
Cars Not Available
Source of Income Director

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Timeline

2001

Retrospective at the Kerala International Film Festival, India. [2001]

1994

In 1994, "Strawberry and Chocolate" became the first Cuban film to receive an Oscar nomination as Best Foreign Film.

1990

"Alea returned yet again to the nexus between the sexual and the political with the best-known Cuban film of the 1990s, Strawberry and Chocolate (1993). The story of the unusual friendship that develops between a naive believer in Castro's contemporary version of communism and a more experienced, gay critic of the regime was widely praised and just as widely attacked. Some found it atypically gentle for Alea and read its gay lead as a cover-up of Castro's horrifying treatment of homosexuals, while others thought it needlessly provocative in its characterizations; such divergent responses only testify to the complexity typical of Alea's tapestries.

1988

The director's later Cartas del parque (1988) is more of a twilight work, exploring the romantic period piece as a scribe meets a diverse cross-section of society via his talents at letter writing.

1980

Alea has been less active in filmmaking in the 1980s and 1990s, and Juan Carlos Tabío has co-directed several of the aging master's recent films.

1979

In Los sobrevivientes (1979) an aristocratic family devolves from civilization to savagery; using a metaphor found in many films from poor countries, the family resorts to cannibalism in trying to remain isolated from the Revolution.

1976

The finest of Alea's historical films, The Last Supper (1976), continued to highlight his versatility, drawing on Afro-Cuban musical motifs and the literary style of magic realism to recreate an 18th-century slave revolt. Alea has also made several satiric comedies that explore the legacy of bourgeois society in post-revolutionary Cuba.

1974

Alea has written or co-scripted all his features and, in accordance with ICAIC's collective approach to filmmaking, has served as advisor on two of the institute's most stylistically innovative films: El otro Francisco (1974), directed by Sergio Giral, and De cierta manera (1977), directed by Sara Gomez.

1972

A Cuban Fight Against Demons (1972), the film on which he first worked with regular cinematographer Mario García Joya, comes across as the prelude to a period Alea has described as full of personal and artistic instability as much as it does an aggressive allegorical portrait of church and state corruption.

1968

The stresses and strains of a revolutionary society were explored in several dramatic works set in contemporary Cuba, among them Memories of Underdevelopment (1968) and Hasta cierto punto (1983). "Memories", Alea's masterpiece and arguably the best-known Cuban film ever made, brilliantly blends documentary and drama to create an extremely witty yet sensitive portrait of a restless, oversexed, politically uncommitted intellectual as he meanders through the early days of the Revolution. The latter film is, in some ways, a continuation of the former, as documentary filmmakers attempt to examine lingering machismo among dockworkers, eventually discovering that the Revolution's goals for changes in consciousness have succeeded only "up to a certain point.

1966

The Hollywoodian black comedy La muerte de un burócrata (1966) cites not only Buñuel but also Mack Sennett and Stan Laurel and Oliver Hardy as it criticizes, at an early point in the Castro regime, the administrative muck of the political system (Alea reused the gallows humor of the bureaucracy connected with burying a corpse for his road picture Guantanamera (1995), which began to appear at festivals in 1995 and 1996).

1962

The madcap adventure Las doce sillas (1962), a tale also told by Russian filmmakers and by Mel Brooks, satirizes greed and bureaucracy as a lingering post-revolutionary bourgeois, his roguish manservant and a corrupt priest hunt for a chair concealing priceless diamonds.

1960

His first feature, Historias de la revolución (1960), employs a neorealist style to present three dramatic sketches depicting the armed insurrection against Batista. Alea's relatively straightforward approach to film style, however, would change, altered not only through his appropriation of Hollywood and art cinema stylistics but also by his increasingly personal attempts at self-expression.

1959

Soon after the Cuban revolution in 1959, Alea co-founded (with Santiago Álvarez) the national revolutionary film institute ICAIC ("Instituto del Arte y Industria Cinematografica").

He promptly made a documentary, Esta tierra nuestra (1959), full of hope for the new government's plan to help the poor through agrarian reform, and has remained a pillar of the organization ever since. Alea's diverse creative personality has led him to experiment with a broad range of styles and themes.

1955

In 1955 Alea co-directed, with fellow society member 'Julio Garcia Espinosa', the 16mm short El mégano (1955), a semi-documentary about exploited workers, acted by nonprofessionals from the locales in which it was shot. The film was seized by Batista's secret police because of its political content.

1953

He returned to Cuba in 1953 and joined the radical "Nuestro Tiempo" cultural society, becoming active in the film section, working as a publicist and aligning himself with Castro's fight against the Batista regime.

1950

Several years later he collaborated with fellow student (and future film great) Néstor Almendros on a short adaptation of a Franz Kafka story they named Una confusión cotidiana (1950). Upon graduation, Alea journeyed to Italy to study film directing for two years during the crest of neorealism at the famed Centro Sperimentale de Cinematografia.

1947

Cuba's greatest and best-known director, Tomas Gutierrez Alea fell in love with cinema at an early age, began as a documentarian much influenced by Italian neorealism and came into his own as an artist during Fidel Castro's regime. Over the years he has evinced a fondness for both historical and contemporary fables, invariably politically pointed and satirical, their flights into absurdity showing the influence of Luis Buñuel. An ardent supporter of the revolution that rid the country of the despotic Fulgencio Batista and brought Castro to power, Alea has painted a more complex portrait of Cuba in his cinema than the rest of the world has generally been willing to conceive. The documentary impulse has remained, yet it is used to constantly scrutinize contemporary Cuba. Indeed, Alea has made some gutsy critiques of the socioeconomic and political realities of his land, as he ponders the persistence of a petty-bourgeois mentality in a society supposedly dedicated to the plight of the working poor. Born to a fairly well-off family, Alea was sent to college in Havana to follow in his father's footsteps and become a lawyer. At about the same time he entered school, though, he acquired an 8mm camera and made two short films, El faquir (1947) and La caperucita roja (1947).

1945

Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945-1985". Pages 14-20. New York: The H.W. Wilson Company, 1988.