Credit. The New York Times Archives See the article in its original context from August 24, 1972, Page 0 Buy Reprints TimesMachine is an exclusive benefit for home delivery and digital subscribers. About the Archive This is a digitized version of an article from The Timess print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them. Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions. In the late 1950's the great Mexican matador Carlos Arruza came out of a self-imposed retirement and began to practice rejoneo, a way of fighting bulls from horseback, and a difficult art in its own right. Riding superb Portuguese-bred horses, Arruza began to appear in bullrings, starting each fight from horseback, as a rejoneador, but making the kill on foot, as a matador. He was again fantastically successful, triumphing finally, in 1966, in the huge new bullring of Mexico City. A few weeks later he died in an automobile accident. He was 46 years events of Arruza's late career were filmed by the American action-movie director Budd Boetticher ( Comanche Station. The Rise and Fall of Legs Diamond, etc. in a project that reportedly took eight years. I believe the time span; you can see Arruza's kids growing from childhood to adolescence in the course of the film. Boetticher finished his work in 1967, and there has obviously been another long lapse, because "Arruza" opened just yesterday at the Plaza and Murray Hill theaters. It was worth waiting for. It is a magnificent is also a slightly old-fashioned documentary, with some tacky passages of real-life dramatization (all involving the Arruza family) and with an intelligent interest in celebrating its subject and what he does rather than ridiculing him, or pitying him, or deploring his life's ambition. Occasionally the film makes jokes with Arruza, and the voice-over narration (read by Anthony Quinn) identifies his driving forces as ego and pride. But it lets the cruel victories of the bullring speak for themselves. And it is supremely reticent in presenting a life cursed by a need to progress always from triumph to triumph, capable of no reasonable conclusion, and perhaps best ending, the man undefeated, in an accidental death that was no part of the life's a good recent study of Budd Boetticher, Jim Kitses, the film critic, compares Arruza with Randolph Scott in so many of the Boetticher Westerns: like the Scott hero. complete and serene when we meet him, the film only recording countless confirmations of who he is. Arruza even slightly resembles Scott—as handsome, but slimmer, more delicate, with the look of an introspective, highly educated scientist or look is enhanced by his fighting costume, somber gray or black, complementing the ravishingly beautiful economy of his provocative and defensive movements. But the bull is also beautiful, bleeding from the knife stabs of the rejoneador, tortured by the colorful expertly placed banderillas (an Arruza specialty) splaying out from its shoulders like a gaudy flower of pain. The film makes no humanitarian protest over killing bulls. It couldn't. The terror and the fascination would simply undercut any rational shudder of the conscience. "Arruza" is not much given to mythologizing, and its interest in the bullring has more to do with the camera's field of view than with anybody's depth of interpretation. And what is held by the cameras of Lucien Ballard and Carlos Carbajal, Boetticher's cinematographers, often in shots of breathtaking duration, becomes virtually an essay in the rewards of seeing clearly and seeing whole. "Arruza" avoids almost all false rhetoric, including the false rhetoric of too much plainness. For this, and for the genuine complexities revealed in its spare and lovely style, it may belong among the last great examples of classical filmmaking. The ProgramARRUZA, directed by Budd Boetticher; narration written by Mr. Boetticher and Ken W. Purdy; photography, Lucien Ballard and Carlos Carbajal; music by Raul Lavista; editors, George Crone and Harry Knapp; produced by Mr. Boetticher; narration read by Anthony Quinn; released by Avco Embassy Pictures Corporation. At the Plaza Theater, 58th Street, east of Madison Avenue, and the Murray Hill Theater, 34th Street, east of Lexington Avenue. Running time: 75 minutes. This film is classified Carlos Arruza.
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On 24 May 1972, The AVCO Center triplex theatre opened on Wiltshire Boulevard, Los Angeles. On two of the screens were the Paramount product the venue had secured a deal to distribute – the Woody Allen vehicle Play It Again Sam (Herbert Ross, 1972) and The Possession of Joel Delaney (Waris Hussein, 1972) both enjoying nationwide premiere presentations. On the third was a film AVCO held through the Embassy film distribution arm it had recently acquired. Budd Boettichers documentary Arruza (1972) had been picked up by the company and, after a successful Mexican release the previous year, the AVCO Center opening was its tentative steps towards a US release. Both Paramount releases would go on to enjoy relatively successful runs at the AVCO ( Play it Again Sam alone would gross 44, 000 in its opening week. In contrast, Arruza was yanked after nine days with a total gross of 5, 800. 1 A similarly poor response greeted the film in New York in August. And other than a few playdates in areas with large Hispanic populations and festival inclusions, Boettichers film was rarely seen again. Whilst ignominious, the Embassys abandoning of Arruza was perhaps a destined culmination of a passion project that began in 1954 when Boetticher first announced his intention to make a documentary on the life of his friend, bullfighter Carlos Arruza. After the success of The Rise and Fall of Legs Diamond (1960) the director devoted himself to what was now an obsession, financing the film himself and relocating to Mexico. In the seven years spent making Arruza (although only released in the United States in 1972 it had been completed in 1968) Boetticher would lose his marriage, be bankrupted, imprisoned and would spend time in a sanatorium after suffering a nervous breakdown. Then, with filming close to completion, Carlos Arruza himself would be killed in a car accident. When finally released, Arruza was met with critical interest but public apathy. Boettichers narrative features devoted to bullfighting had been popular in the 1950s, but this re-emergence was into a society and culture that had changed dramatically in the years he had spent in Mexico. The valorisation of a blood sport was unlikely to be celebrated in the progressive 1970s. Arruza was a film made too late and although not lacking in merit (or interest) one wonders whether the finished product is worth the work the director may have completed had he remained in Hollywood. Running for only 74 minutes Arruza feels an incomplete patchwork and not the film that Boetticher planned. Yet, discard the extraordinary bad luck that plagued the production and with it excise the film that takes place outside of the ring and, for a gloriously short period we are left with the distilled essence of the Boetticher vision: the final standoff in which the winner must combine their courage and skill with style, grace and panache. Arruza is not a conventional documentary, rather its focus is on the matadors return to the bullring in 1966 at age forty-six after thirteen years of retirement. Unable to settle into life on a ranch raising fighting bulls, Arruzas comeback is as a rejoneo – atop a horse, dismounting only for the bulls final passes and to administer the coup de grâce. Training himself in the style, he sees it as an opportunity to both quench his desire to return to the ring and also as a means of promoting his business of producing fighting bulls. After some preliminary bouts Arruzas return to the countrys premier venue Plaza Mexico in front of a capacity crowd is a triumph, concluding the film. But the experience of viewing Arruza will be determined by ones position on the practice of bullfighting. It is possible to enjoy the directors earlier narrative features on the subject – Bullfighter and the Lady (1951) and The Magnificent Matador (1955) – blessed with the knowledge that “no animals were harmed in the production of this motion picture” (or at least we would like to think) as the killing of the unfortunate beast is relayed through a cutaway close-up to the expressions on the face of the matador (be it Robert Stack or Anthony Quinn) and the soundtracks roar of the crowd. Traditional Hollywood examples of the subgenre had spared the viewer of the sports inconvenient truth, romanticising the machismo and bravery of the matador, a fetishisation that was shared by the literature of Hemingway and the tabloid dalliances of Sinatra and Gardner. That bulls were slaughtered in a prolonged ritual of sadistic violence was discreetly bypassed in the exotic depictions of the practice in film, literature and music (Herb Alpert, anyone. Boettichers ambition was to eschew such Hollywood fakery and present the bullfight in its reality. For many committed filmmakers this could have presented the opportunity for agitprop – to present the truth of bullfighting to an ignorant North American public, revealing the practices horrific necessity. Yet for Boetticher this is not the case; for him, the sight of a delirious bull suffering the wounds of the banderillas plunged into the nape of his neck, salivating with pain and exhaustion, attempting a few final half-hearted lunges at the matador before being put out of its misery is a vision of artistry and beauty. Now for full disclosure: I admit to detesting bullfighting and was repulsed by Arruza s many moments of hapless bulls and the indignity of their exploitation. And no, I cannot countenance the bullshit of the bulls being treated with respect and applauded for their bravery. However, although I had to resist averting my eyes, Arruza s bullfighting sequences do capture some remarkable moments of animal and man together in the ring. Boetticher presents almost all of the bullfighting sequences in a two-shot medium, isolating the bullfighter and the bull together. These sequences are the dynamic that Boetticher reduces to the narrative to toro para el hombre. The directors most feted films are his Ranown cycle for producer Harry Joe Brown and leading man Randolph Scott (with the best of the series from screenplays by Burt Kennedy. These films (all westerns) were predicated upon a narrative that existed to formulate a final standoff between hero and villain (with the hero emerging triumphant. Yet, although the moral demarcations between the two are clearly presented (we know who to root for) these are no Manichean melodramas. Instead, the villains are presented with backstories and portrayed with charisma thus inviting a degree of – if not sympathy – then at least guarded care from the audience. Carlos Arruza In Arruza the backstory of the protagonist is reduced to a few narrated platitudes with the expectation that the viewer is aware of his history and significance in the sport. 2 Thus, stripped of his history – although it is ingrained within the adulation of the live spectators – Carlos Arruza is depicted as at one with the beast and although for the Plaza Mexico sequence in which the director placed ten cameras, there is not a single close-up of either Aruzza or the bull. Emotions are kept hidden and disguised by action, delivering an experience akin to those that purchased tickets for the event, privileging the film viewer with no more insight than the eye-witness. For Boetticher it is the gaze of the medium shot that captures the essence of the bullfight – toro y torero, brute force, instinct and anger pitted against patience, strategy and grace. For to simply defeat the bull is to defeat the purpose: the fight must be conducted via the rules of centuries-old tradition and, to be remembered as among the greats of the sport, the bullfighter must win with a display of style. It is here that the viewer can appreciate why Arruza was held in such esteem. Whether mounted atop his prancing horse or on foot enticing the bull and dropping to one knee as it passes through his cape, waved like an ornamental fan. Although the film offers little explanation of the rules and traditions, the roars of appreciation for the forty-six year old Arruza are evidence of his adherence to the practice and the panache and grace of his physicality and routine is apparent, even to those with no interest in the sport. The bullfighting sequences are Arruza s highlights and one is left with the impression that Boetticher would have preferred to have had these comprise the entire film. However, although now free of the studio system, he was still bound by the conventions of the traditional Hollywood narrative form, demanding cause for the effect. Thus the earlier sections of Arruza are spent following the matador in his initial retirement: wealthy, famous and bored. The last of these qualities is one possibly shared by the viewer due to the directors insistence on never allowing his subject to speak on camera. 3 Instead, it is the omniscient narration of Anthony Quinn that relays Carlos Arruzas feelings and thoughts. That Quinn (speaking in a slightly paternalistic tone in English peppered with unexplained Spanish colloquialisms) had previously played a bullfighter for Boetticher in The Magnificent Matador (1955) drapes Arruza with the Hollywood fakery the director was attempting to avoid. It also causes a stodginess to the story-telling with the image appearing to be heavy-handedly edited to suit the narration. For example, we observe Arruza gazing over his impressive ranch. The narration accompanies the image: “But as the months snailed past the everyday routine of Pastejé became a bore. And boredom was a new and puzzling experience to Carlos Arruza. ” With the second spoken sentence the film cuts to a close-up of Arruza with his hand on his chin looking, well, bored. Similar moments occur when the narration states that Arruzas wife is concerned about her husbands return to the ring in which we are provided with a cut to Maria Carmen Arruza grimacing with concern. In this regard the film bears unfortunate similarity to ethnographic presentations of an earlier period in which protagonists were rendered voiceless and were instead spoken for by an authoritative, suitably accented narrator. In the 1950s and 1960s such a technique was commonplace in Cinerama spectacles Mediterranean Holiday (Hermann Leitner, Rudolf Nussgruber, 1962) and Russian Adventure (Roman Karmen, Boris Dolin, Vasily Katanyan, Solomon Kogan, Oleg Lebedev, Leonid Kristi, 1966) that were narrated, respectively by Burl Ives and Bing Crosby. However, in its small screen ratio and its narrations occasional folksy tone Quinns voice over reminded me of the work of Rex Allen on a number of Disney animal documentaries of the same period such as Charlie the Lonesome Cougar (Winston Hibler, 1967. Thankfully Quinn does not attempt to explain to the viewer what the bulls are thinking and feeling. However, as unfortunate as the Quinn-splaining may be, it is impossible to ascertain how considered a directorial choice this approach was. For it was only months after shooting the concluding Plaza Mexico sequence that Carlos Arruza died tragically leaving several intended sequences unfilmed. Having run out of production funds the director agreed to financing from fellow filmmaker John Sturges who recut the film and added the Quinn narration. It is unfortunate that George Crone, who edited bullfighting sequences with precision and rhythm died only shortly after Carlos Arruza, before he had a chance to assemble the earlier scenes into a coherent narrative. It remains one of the great ‘what if? questions of Hollywood history: What if Budd Boetticher had abandoned his Arruza plans and remained in in the industry? Could he have moved from programmers to A-material (following a similar career path to Robert Aldich) How would he have transitioned to New Hollywood and how would his westerns have evolved with the times? Could he have potentially enjoyed a career resurgence like that of John Huston and still have been directing into the 1980s? We will never know. Arruza exhausted Boetticher into retirement and the easier life of raising horses in the countryside. Unlike his idol there would be no triumphant return to the screen. In the tragedy of the blood and asphalt that took Carlos life, the directors vision for the film and his passion for cinema was taken. Endnotes.
Arruzafa 1. Arruzza high performance. Arruza john fulton. Arruza elias michael ent review. Learn more More Like This Certificate: M Western 1 2 3 4 5 6 7 8 9 10 6 / 10 X In Silver City, naive farm boy Cass and newcomer saloon girl Nellie are married by Judge Roy Bean in a shotgun wedding but their honeymoon is marred by outlaws. Director: Budd Boetticher Stars: Richard Lapp, Anne Randall, Robert Random Drama, 7 / 10 A man saves a woman who had been kidnapped by Comanches, then struggles to get both of them home alive. Randolph Scott, Nancy Gates, Claude Akins Romance Thriller 7. 3 / 10 An independent former ranch foreman is kidnapped along with an heiress, who is being held for ransom by trio of ruthless outlaws. Richard Boone, Maureen O'Sullivan 5. 6 / 10 In Mexico City, rich American Karen Harrison falls in-love with famous bullfighter Luis Santos who hides a personal secret regarding his young protege bullfighter Rafael Reyes. Maureen O'Hara, Anthony Quinn, Manuel Rojas Action 7. 4 / 10 A former sheriff blames himself for his wife's death during a Wells Fargo robbery and vows to track down and kill the seven men responsible. Gail Russell, Lee Marvin 6. 9 / 10 Texan Tom Buchanan is heading back home with enough money to start his own ranch, but when he stops in the crooked town of Agry, he's robbed and framed for murder. Craig Stevens, Barry Kelley 6. 8 / 10 Bart Allison and sidekick Sam arrive in the town of Sundown on the wedding day of town boss Tate Kimbrough, whom Allison blames for his wife's death years earlier. John Carroll, Karen Steele Certificate: Passed War 6. 6 / 10 In 1864 Capt. John Hayes goes to Colorado to take over the stagecoach line and keep the flow of Western gold flowing and help the North win the Civil War. Virginia Mayo, Crime History Jack Diamond and his sickly brother arrive in prohibition New York as jewel thieves. After a spell in jail, the coldly ambitious Diamond hits on the idea of stealing from other thieves. See full summary » Ray Danton, Karen Steele, Elaine Stewart 6. 5 / 10 During the Alamo siege, John Stroud is sent to Ox Bow to protect the townsfolk but, following a massacre, he infiltrates Jess Wade's gang of turncoat renegades supporting the Mexicans. Glenn Ford, Julie Adams, Chill Wills 7. 2 / 10 A bounty hunter escorts a killer to be tried for murder, but allows the man's outlaw brother to catch up with them to have a showdown over a previous shocking murder. Pernell Roberts Documentary Sport 8. 1 / 10 When Robert and Rosemarie Stack (Robert starred in Boetticher's "The Bullfighter and the Lady" visit Mary and Budd Boetticher to attend the Boettichers' showing of their exquisite. See full summary » Carlos Arruza Jr., Budd Boetticher, Mary Chelde Edit Storyline Biography of bullfighter "Carlos Arruza" who tragically died in a car wreck in 1966. Plot Summary Add Synopsis Details Release Date: 29 November 1973 (Mexico) See more » Company Credits Technical Specs See full technical specs » Did You Know? Trivia Director Budd Boetticher began shooting this film in 1959. Production delays, financial troubles and other problems resulted in the film not being released until 1972, six years after Carlos Arruza, the subject of the film, had died. See more ».
Arruzza hemi engines. Arruza automotive hinesburg vt. Calle Carlos Arruza named for famed Mexican matador Renowned Mexican matador Carlos Arruza died at 46 in a car crash. Streets named after city founders are common. Streets named after bullfighters? Not so much. But Tucson has one: Calle Carlos Arruza, named after one of Mexico's most famous matadors. The street, off South Granada Avenue and West Congress Street just north of the Tucson Convention Center, got its name in 1972, when Budd Boetticher's film "Arruza" premiered in Tucson. Born Carlos Ruiz Camino in Mexico City on Feb. 17, 1920, Arruza began his bullfighting career in 1934 and became a full matador in 1940 at age 20. He later gained the nickname, El Ciclón. or "The Cyclone. In 1945, he had one of the best seasons in the history of La Fiesta Brava: He fought in 108 bullfights (corridas) and won more than double the number of awards as his nearest challenger, Manolete. Arruza retired in 1953, and he and his wife, Mari Carmen del Vazquez, bought a ranch in Mexico to raise bulls. He did occasional festival appearances for charity and in 1955 wrote "My Life as a Matador: The Autobiography of Carlos Arruza. which was published the following year. At the urging of a friend, he re-entered the ring in 1957, this time as a rejoneador - a bullfighter on horseback - fighting in Mexico, Spain, Portugal and France. In 1959, in Nogales, Sonora, El Ciclón" almost lost his life when a bull charged and crashed into him, nearly goring his head. Arruza appears in several documentaries, such as "Bullfight" and "Torero. and also as Lt. Reyes in the movie "The Alamo. starring John Wayne. Arruza survived his dangerous career, only to be killed at age 46 in a car crash. Editor's note Each week the Star tells the stories behind Tucson street names. If you have streets to suggest or stories to share, contact writer David Leighton at Sources: Dick Frontain, Carlos Arruza, The Golden Years, 1953-1966. Los Amigos Publishing, 1966 Ernesto Portillo Jr. Nogales bullfights saw grace amid gore. Arizona Daily Star, July 2007 Ron Butler, A Small Street Behind the Convention Center Carries a Name Steeped in History. Tucson Weekly, April 22, 2004 Online Encyclopedia Britannica: Internet Movie Database: Subscribe to our Daily Headlines newsletter In 1957, the residents of El Encanto Estates asked that Camino Miramonte be renamed.
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Mexican bullfighter Alternative Title: Carlos Ruiz Camino Carlos Arruza, original name Carlos Ruiz Camino, born February 17, 1920, Mexico City, Mexico—died May 20, 1966, Mexico City) Mexican bullfighter, the dominant Mexican matador and one of the greatest of any nationality in modern times. Born in Mexico of Spanish parents, he began as a professional torero at the age of 14 in Mexico City. He went to Spain in 1944 billed as “El Ciclón” and soon was ranked as the most serious contender to challenge Manolete s preeminence in the arena. Day after day the two toreros competed to see who could be awarded the greatest number of ears (cut from the bulls after an excellent performance by the matador. In 1945 Arruza concluded one of the most astounding seasons in the history of la fiesta brava: he fought in 108 corridas, killed 232 bulls, and was awarded 219 ears, 74 tails, and 20 hooves, twice as many as Manolete in the same period. Arruza retired in 1953 to raise bulls on a ranch outside of Mexico City. Get exclusive access to content from our 1768 First Edition with your subscription. Subscribe today Learn More in these related Britannica articles: bullfighting: Act three …the dosantina, named after Manolete, Carlos Arruza, and Manolo Dos Santos, respectively. Other maneuvers include the trincherazo, typically done with one knee on the ground and at the beginning of the faena, and the pase de la firma, in which the muleta is moved in front of the bulls nose… Budd Boetticher: Early life and work …began to study bullfighting with Carlos Arruza, and in the late 1930s he became a professional matador. His experience in the ring led to him working as a technical consultant on Rouben Mamoulians epic Blood and Sand (1941. … Manolete Manolete, Spanish matador, generally considered the successor to Joselito (José Gómez) and Juan Belmonte as paramount in the profession. Manolete was born in Córdoba, the heart of bullfighting country. His great-uncle, a minor-league bullfighter, … Carlos Arruza Additional Information.