Adiós, cigüeña, adiós

Spanish ¨Cult movie¨ dealing with an agreeable and fun love story stunningly directed by Manuel Summers . A pair of lovely adolescents go to a ski lodge in Navacerrada station , while on a field trip to the mountains with their schoolmates they escape and in a moment of passion they make love , then , she gets her pregnant. And they afraid of what may happen to them if their stiff parents or any of the rather straight-laced teachers at their Catholic schools , as he attends at Colegio San Francisco de Sales and she at a Nun school . While Arturo and Paloma asking for help their young friends about the baby . Then , it happens several amusing adventures as well as misfortunes while doing this, until the surprising birth .

Nice children movie with plenty of zooms , humor , romance , light drama , social habits and concerning about complex issues as pregnancy and childbirth . This is not the typical comedy by that time , here there is a brief social denounce about the repression and excessive religion during Franco dictatorship . The film has a certain religious tone , children to study at Religious schools , a stage representation of Christmas , ordinary presence of priests and nuns , and Aleluya's chorus by Haendel . This enjoyable flick is crammed with comedy , jokes and good feeling . Here there is especially comedy , humor , satire and social customs ; dealing with Arturo, who has just turned 15, is in love with 13-year-old Paloma and she gets pregnant . Problems emerge for everyone involved , as they attempt to help the young couple get married, conceal the pregnancy from their somewhat inattentive parents, and prepare for the birth. Then , the likeable children , well played but dubbed by professionals , realizing the beautiful story about ¨storks bringing babies¨ is just a myth, a simple tale of old witches . It belongs to a Spanish period called ¨New Spanish cinema¨ of the 60s and early 70s directed by students of the ¨Official Academy of Cine¨ or Escuela Oficial De Cinematografia . These films contained good stories that were beset by difficulties with the censors caused by a relentless critical to Catholic religion , sour urban or rural conventionality and extreme religious practices . It has an interesting as well as funny script by Manuel Summers himself and the prestigious Tono , based on their own childhood experiences , as there appears their Madrid houses , school , streets , personal games and Tebeos or comic books . This film packs an atmospheric and evocative cinematography by two of the best Spanish cameramen : Luis Cuadrado and Teo Escamilla , both of whom photographed splendidlly Madrid : Rastro , Park El Retiro , Museo del Prado and the spectacular streets . And atmospheric musical score and full of ordinary sounds of the sixties and seventies by Antonio Pérez Olea , adding traditional music , popular songs and modern music .

The motion picture was well produced by Antonio Cuevas and compellingly directed by Manuel Summers who shot approx. 12 films about enamored teens . As it was successfully premiered , ¨"Adios cigüeña adiós" got awesome critics and had big hit at the Spanish box office as Spain as South America . It won several awards in Festivals , as Circle of cinematographic writers National Syndicate of Spectacle, Spain 1971 : Winner Special Award Best Film . Being followed by an inferior sequel : ¨El niño es nuestro¨ with similar artistic and technician team . Manuel was a comic books humorist who publicized in ¨Pueblo¨ diary and on magazines as ¨Hermano Lobo¨and ¨La Codorniz¨. He was a comedian actor and an acceptable filmmaker . He realized a lot of films including social critical which tended not to be very well received by the censor . Summers made an important diptych : ¨Del Rosa Al Amarillo¨ (63) , "From Pink to Yellow" with Pedro Diaz Del Corral , Cristina Galbo , as Manuel created two episodes about love stories between teenagers and elderly people and ¨La Niña De Luto¨ starred by Alfredo Landa and Maria José Alfonso (1964) . Following to Summers's first film was made a third episode dealt with a young romance , but it was adapted on another movie , ¨La Niña De Luto¨ or ¨The girl in mourning¨ that pays tribute to previous picture . His successful first film ¨Del Rosa Al Amarillo¨ was followed by personal works wasted by excessive jokes as ¨El Juego De La Oca¨(65) . His first films were well considered in the ¨New Spanish Cinema¨ of the sixties and Summers was deemed to be the great hope of the Spaniard cinematic ; however , being subsequently frustrated . Summers was really interested in juvenile love stories and extreme humor . In his early and best first films , Summers developed sour critics to selfish villagers and repressed characters , coerced by social conventionalism , gossip and hypocrisy . He had a big flop titled ¨Juguetes Rotos¨ (66) . Summers , then , made two typical Spanish comedies with Alfredo Landa : ¨No Somos De Piedra¨(67) and ¨Porque Te Engaña Tu Marido¨ (68) . He , subsequently , directed teenager films as ¨Adiós Ciqueña Adios¨ (71) , ¨El Niño Es Nuestro¨(73) that achieved big hit and some of them are censored as ¨Ya Soy Mujer¨(75) , ¨Mi Primer Pecado¨ and ¨Me Hace Falta Un Bigote¨ , also concerning about romances among boys during the post-war in Madrid . His last works are mediocre , making fake documentary , such as : ¨To er Mundo e Gueno ¨ , ¨To Er Mundo E Mejo¨ , ¨To Er Mundo E Demasiao¨ and ¨Biblia En Pasta¨ (85) . He finishes his career directing his son David Summers , a known singer leader of the band ¨Hombres G¨ in commercial titles as ¨Sufre Mamon¨(87) ,¨and ¨Sueltate El Pelo¨(88)