Name: Amaya
Genre: History
Released: 1952-10-07
Duration: 1 h 50 min
Rating: 4.6
Cast: Susana Canales, Julio Peña, José Bódalo

Uneven historical film boasts the best Spanish cast of the era in which it was filmed.

According to an old tradition, when the Basques arrived in northern Spain, the patriarch Aitor brought with him a fabulous treasure, which he hid to prevent conflict among his subjects. It was to be given only to his first female descendant, the daughter of the Basque Lora and the Goth Ranimiro (Pedro Porcel). The young Cristina Amaya (Susana Canales), unknowingly, is the first to meet these requirements and is destined to pacify the Goths and Basques, who are in constant conflict. But to reach the throne, she must confront her ambitious aunt, the pagan Amagoya (Porfiria Sanchiz). When Ranimiro falls from grace and is about to be condemned to death, Pelayo (Rafael Arcos) , lieutenant and nephew of the Visigothic king Don Rodrigo, arrives, announcing the invasion of the infidels and calling on the Basques to fight for the cross against the invaders. And the Basque leader Iñigo (Julio Peña), who arrested Ranimiro, falls in love with his daughter Amaya. Meanwhile, a Basque leader, Teodosio (José Bódalo), tries to prevent the union between Basques and Goths. This takes place in the 7th century, when the Arabs, taking advantage of the struggles between Goths and Basques, had invaded Spain in 711 with the armies of Tariq and Musa. Meanwhile, the Jews and the Duke of Cantabria (Rafael Luis Calvo) are also attempting to seize power.

A curious and partially interesting medieval adventure film set in the time of the Visigothic kings, just as the Muslim invasion was beginning. The setting is northern Spain, where Goths and Basques live in constant conflict until Amaya unites them in a common struggle against the infidels. Based on the novel by Bavarro Villoslada and the opera by J. M. Arroita Jáuregui, the relatively unknown Jesús Azcarreta and José Luis Albéniz wrote a convoluted screenplay with multiple characters and too many incidents, resulting in a leaden adaptation that is neither entirely entertaining nor particularly well-developed. The film suffers from several characters whose interactions seem nonsensical, constantly reciting pithy phrases, usually while gazing into the distance. It does contain at least some historical elements from the legend of Amaya, the Moorish invasion of Spain in 711 led by Tariq and Musa, the defeat at Guadalete, King Rodrigo, and the appearance of Pelayo, who shortly thereafter would lead the first Christian victory at Covadonga.

As was typical of the era, the power of the cross, prayer, and religious spirit is emphasized, and thanks to all of this, the various peoples of Spain unite to defeat the infidel invader. All of this is enhanced by somewhat inappropriate period costumes and the usual papier-mâché sets.

Filmed in San Lorenzo del Escorial, the film features the exuberant and luxurious cinematography of Enrique Guerner and José F. Aguayo. Despite the opening credits that expose it was filmed in outdoors: Basque country and Navarra, the film was actually shot near Madrid. Produced by Cifesa, the all-powerful film company of the Franco regime, the film was unevenly and mediocrely directed by Luis Marquina with its ups and downs. Luis Marquina was a film craftsman who was born in Barcelona (1904) and died in Madrid (1980). In his beginnings he was sound engineer , but was Luis Buñuel who gave him the chance to shoot his first movie: Don Quintin el amargao (1934), based on Carlos Arniches play. Marquina was a writer, producer and director, and had a prolific career, writing and directing all kind of genres with penchant for musical and comedy; he made various coproductions as well. Being known for The Gossiper (1938), La viudita naviera (1962)Siege of Terror (1970), Backfire !. Crucero de verano, Su hermano y él, Malvaloca, Torbellino , El capitán veneno, Noche fantástica, Ventolera , Navidades en Junio, Fabulous fraud, Adiós Mimí Pompón, Maribel y la extraña familia, la batalla del domingo, Siege of Terror. Rating: 5/10 . Mediocre but passable for its historical interest.

Spanish-language cinema across Spain and Latin America is united by its engagement with history, cultural identity, and social transformation. In Spain, films often balance artistic experimentation with popular genres while reflecting on memory, politics, and family. In Latin America, cinema has been deeply tied to questions of colonial legacy, resistance, and community resilience, ranging from intimate dramas to bold political allegories.

Ana Torrent in The Spirit of the Beehive (1973)

The history genre features recounting and analyzing past events, societies, cultures, and historical figures. This genre aims to provide insights into the development of civilizations, the causes and consequences of historical events, and the impact of individuals and ideas on the course of history.

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Amaya

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