The day Spain wanted to be Spielberg doing science fiction. It was such nonsense that Tarantino ended up claiming the film

In 1982, during the filming of Fitzcarraldo In the Amazon jungle, Werner Herzog heard a completely real proposal from several local indigenous people: they offered to kill Klaus Kinski to put an end to the problems he was causing on set. The German director rejected the idea, but years later he would admit that for a few seconds he seriously considered accepting the offer.

The impossible movie. In the mid-80s, Spanish cinema was still very far from Hollywood. Science fiction blockbusters seemed to be the exclusive territory of Spielberg, George Lucas or Ridley Scott, while comedies and much more modest films in terms of media predominated here.

Then the director Fernando Colomo appeared and decided do exactly the opposite of what seemed sensible: raising a medieval science fiction epic with aliens, castles, special effects, international stars and the largest budget in the history of Spanish cinema up to that point. The result was so enormous, chaotic and Martian that it ended up becoming a symbol first of absolute failure…and decades later in a cult film claimed even by Quentin Tarantino himself.

Spain in Hollywood style. The dragon knight was born as a completely improbable idea: mixing the myth of Sant Jordi with Encounters in the third phasemedieval fantasy, absurd humor and romantic science fiction. The story began with a spaceship mistaken for a dragon in the middle of medieval Europe and a silent alien (played by Miguel Bosé) falling in love with a princess after accidentally kidnapping her.

Colomo came from triumph with the comedies of the Madrid Movida, but decided to launch into a gigantic project by Spanish standards. The budget is over exceeding 300 million of pesetas, a crazy figure for the time. Huge sets were built, models and storyboards that were unusual in Spain were designed, and some of them were experimented with. the first digital effects of national cinema. The problem is that Spanish cinema in 1985 simply did not yet have the necessary industrial infrastructure to build something like that without everything exploding into the air.

Martian Bosé, Keitel sunk and Kinski unleashed. The casting seemed like an international frenzy. Harvey Keitel accepted the project at one of the lowest moments of his career after working with Scorsese. Miguel Bosé finished turned into an alien because Imanol Arias “did not have the face of an alien,” according to Colomo himself. And then there was Klaus Kinski. The German actor arrived at the filming as a ticking bomb human. He constantly insulted the team, shouted “What a shitty movie!” During the days, he demanded more money, disappeared when he wanted and turned any technical delay into an attack of fury.

Apparently, he only respected Miguel Bosé (and for being Picasso’s godson) and the gypsy animal caretakers on the set. To give us an idea, Keitel even offered to pay out of pocket to settle one of Kinski’s contractual tantrums. The atmosphere was so unbearable that Colomo tried to film all the German scenes before meals so I can have a quiet lunch without him. History left the moment when Kinski finally finished his sequences and left the shoot, when the team celebrated his departure. opening bottles of champagne

All wrong. The film was shot amidst constant rain, delays, cost overruns and situations almost surreal. An extra was about to drown during a sequence on a lake because the armor was too heavy and he couldn’t stay afloat. An electrician managed to rescue him at the last moment and then used that anecdote for years to demand work in new Colomo films.

Not only that. The castle where they were filming was so poorly located that the crew had to upload loading material on exhausting days every morning. Miguel Bose I could barely breathe inside his spacesuit and diving suit it continually fogged up. Meanwhile, money was disappearing at breakneck speed. What had started as an ambitious fantasy ended up becoming something of a kind. suicide expedition where every day seemed to bring a new logistical disaster.

The final failure. When The dragon knight It hit theaters in 1985, the reaction was brutal. Part of the criticism destroyed her describing it as a botched, absurd and inoperative fantasy. Although the film was relatively seen and became the seventh highest-grossing Spanish production of the year, that it wasn’t enough to recover such a crazy budget. To make matters worse, the American distributor broke agreements due to delays in the delivery of the material and Colomo lost a trial in Hollywood that left him without international rights.

The director finished in debt with 50 million of the old pesetas and, according to would count Years later, he only kept “a Renault 5.” The experience was so traumatic that he thought he was going to have a heart attack. In fact, to survive financially he wrote almost as an emergency The joyful lifewhose subsequent success allowed him to pay off the debts accumulated by that medieval space madness.

From disaster to cult movie. For decades, The Dragon Knight was remembered as one of the big hits of Spanish cinema. But over time something began to happen that has been repeated in many other celluloid productions: many people began to see it with fascination. Its impossible mix of genres, its naive tone, its disproportionate ambitions and the chaos that each scene gives off transformed it into a unique rarity.

Festivals like CutreCon They claimed it as a cult work and the film ended being restored in 4K forty years after its premiere. The definitive turn came when Colomo remembered a conversation in Sitges with Quentin Tarantino. The American director, always obsessed with strange and failed films, immediately recognized Star Knight (his international title) even before Colomo himself remembered what it was called in English.

It turned out that that martian medieval that almost ruined half the world ended up surviving in the most improbable way: converted into a delirious relic of a moment in which Spanish cinema believed, even if only for a few weeks of infernal filming, that it could also compete with Spielberg himself.

Image | CineTel Films

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