To speak of Pilar Miró is to speak of the history of cinema and television in Spain. She was a powerful and controversial woman, a very talented woman with an overwhelming personality. Her friends and colleagues remember her Blood relationship and Essential, only 25 years after his death. The RTVE program analyzes the figure of Pilar Miró, both on a personal and professional level, reviewing her career as a filmmaker and director and director of Spanish radio and television. He shattered glass ceilings at work and broke molds in his family life.
The first director of RTVE
Pilar Miró was a woman with clear ideas, independent and with a strong and dominant character. “His obsession was being on TV, getting TV jobs, running TV…Even then she was very fiery for the things she wanted“, says her great friend Mónica Randall. She arrived at TVE in 1962 and with perseverance managed to carve out a place for herself. in a world dominated by men. Su set high goals and achieved them. Miró became the first woman to take the reins of a television control. “I was the only onewere the announcers and the administration of the house, but try what i wanted there was nobody“, he told Jesús Hermida in an interview. “I knew Pilar in 1966 when I started working at Televisión Española and I remember the emotion I feltyou when you saw that there was a woman on Spanish television who was a filmmaker“, comments Marisol Carnicero in the documentary.
Pilar Miró denounced the harassment
During his years on television, he had to deal with machismo and harassment. “She spoke years after being harassed during those years”, says Fernando Lara in the documentary and Pilar Miró herself speaks on this subject. “I was very discouraged that men wanted to flirt with me all the time. I didn’t take it as offensive, but it bothered me, it made everything much more difficult for me,” he said. “When you don’t claim anything, it’s very uncomfortable and leads to a series of misinterpretations, or people who then stop talking to you or go to war with you.” Miró has always had courage and it is surprising that in 1981 he publicly denounced the harassment he suffered.
Director Against All Odds
Cinema was Pilar Miró’s great passion, riding was what made him happiest. His dedication was total, regardless of the physical or emotional consequences. The Cuenca Crime It is his most controversial film and the one that hurt him the most. The film focuses on story of an alleged crime committed by two people who The police station tortured until a confession was obtained which later turned out to be false. The film was seized for possible insults to the Civil Guard and Pilar Miró sued her, forcing her to appear fortnightly in the military government. Meanwhile, the Ministry of Culture withheld the license to prevent the premiere in theaters. The case went to ordinary courts and eventually the National High Court overturned the removal of the film. “When it opens in Spain becomes the highest-grossing film of the year and also in one of its great successes”, says journalist Luz Sánchez-Mellado in the documentary. Pilar Miró offered what she wanted to a Spanish society that was eagerly seeking images and information about a dark period in its history. story, she never avoided the truth and with your film “It changed history”, says a very proud Gonzalo Miró During the interview.
A woman of high office
At the beginning of the 1980s, Pilar Miró maintained very close relations with the Socialist Party. At the moment meet Felipe Gonzálezwith whom he will maintain a very special friendship, and he decides to trust him to occupy directorate general of cinematography. At that time, he remade history, since succeeded in enforcing the Miró lawwhich did not please certain sectors of the film world, as it sought to imitate a French model in which the government granted subsidies before the film was made, and not after, as was once done in our country. It was a very controversial law but which, according to some friends and colleagues like Víctor Manuel, “came to fix the panorama a bit and favor a type of cinema with which we then won many festivals there”.
Pilar broke glass ceilings
The next position he held was Director General of Spanish Radio and Television in 1986. He was the first woman to hold this position and during her tenure she created advanced and modern television, however, like everything in Pilar Miró’s life, this position had a dark side. During this stage, Pilar assigned a series of costumes for her professional wardrobe and a series of performance costs depending on her position, at the expense of the budgets of Radiotelevisión Española. The People’s Party took to court “the complaint of misuse of public funds” for this situation and Pilar was sued. A situation that all her friends and colleagues considered absurd, since Pilar was precisely a person who dressed “quite informal and messy” and never sought ostentation.
some controversial outfits
But this case shook the media. “She was subjected to a public trialto a public execution, which I believe has very few precedents,” says Ángel Antonio Herrera. She was eventually acquitted, as also happened during the military trial for The Cuenca Crime, But the damage was done. “The worst moment for her was, without a doubt, this trial and this outrageous thing they did to her,” Victoria Prego said. After that, Pilar Miró no longer had the strength to continue her mandate and the Council of Ministers decided it was time to make a change in the management of RTVEthis is how Pilar Miró ceased to be general director of RTVE.
Pilar Miró broke with the establishment
Pilar continued to work as a filmmaker and director, but above all she devoted time to another of the professions that gave her the most joy: motherhood. And she did it in her own way, being a single mother in a prejudiced society. She is courageous, fought against the conventions of the time and against medical advice and had her son. “The doctor told her she shouldn’t get pregnant, but she did the opposite of what she was told. It was her way of being,” says Marisol Carnicero. She had her son alone, at the age of 41, and she had to give him her two surnames, Miró Romero. “It was the reason for its existencePilar Miró’s reason for living”, says Victoria Prego.
Pilar Miro discovered in Gonzalo an inexhaustible source of love, she felt the need to give her love to someone who deserved it and she saw this person in her son. No one understood the change that “that tough, bossy person” went through when he was with his son, but it really made him a very different person. “I think Gonzalo is the man of Pilar Miró’s life”says Ángel Antonio Herrera in the documentary.