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X
PRESENT
PABLO O'HIGGINS
RESEARCH, SCRIPT AND DIRECTION BY EDUARDO ESPINOSA CAMPOS
FOR MARÍA O'HIGGINS
Pablo arrived in Mexico...
...particularly to see Diego Rivera.
They arrived on Sunday, and...
...the first thing they decided to do was visit Diego's workshop.
Pablo visited Diego's studio, Diego welcomed him warmly...
...and they started talking about mural painting immediately.
Then, Diego told Pablo they had a previos engagement...
...and left him some drawings he'd done in Italy...
...and asked Pablo to study them...
...and told him to go to the Ministry for Education the following Monday.
Finally, he asked Pablo to lock the door when he left.
Pablo was impressed by Diego's trusting him with his drawings...
...and his house, for one can only offer their home when they trust.
He just asked him to lock the door.
They met that Monday...
...and Diego's work really amazed Pablo.
However, Diego explained to him that he wasn't the only painter there...
...because many other artists belonged to the same movement...
...and therefore Pablo should meet all of them to realize that.
Pablo talked with all of them...
...and he understood that those artists were in charge of the Mexican people.
José Clemente, Charlot, etc.
Pablo was in awe when he understood their way of thinking...
...and that they really wanted to convey a message for the Mexican people.
I believe that became Pablo's leitmotif to focus on the working class.
He was passionate about mural painting...
...because he believed it had a dialog, an understanding, a message...
...for anyone who would see his murals...
...but he always thought about the places where he'd paint...
...who would see the mural, what they would like to see...
...what was happening there, what was Pablo's work.
And it was not only for murals in Mexico, like Abelardo Rodríguez...
...and many of the people there worked in the market...
...and Pablo became good friends with them.
He even invited them over to his studio to have some coffee or...
...they would drink something in the market.
When he walked the streets in Mexico City...
...and he saw the city's architecture, which impressed him...
...he looked for a place to live.
He went to Belisario Domínguez street, and in an old building...
...there was a woman, an indigenous woman...
...standing by the gate, with a sign...
...that read, "Room for rent".
Pablo really liked that woman because she looked...
...very clean, with her long skirt, but...
...she also had an apron with some lace or embroidery.
He really liked her appearance, and he approached her...
...and asked her about the room, she observed him too...
...and she liked him, so he got the room.
He stayed there, in a very populous neighborhood...
...and Pablo immediately got acquainted with the other inhabitants...
...and many of the people he painted lived in that neighborhood.
He always chatted with his models...
...and asked them what they liked, about their jobs and their lives...
...and always showed interest in their personal situation.
He wanted to know what they needed, whether they were well-paid...
...so that he could depict those needs in the mural.
All of Pablo's work...
...is a cry for social justice, not only for the Mexican people...
...but also for the rest of the world.
He shows the abandonment they are living, but...
...above all, Pablo emphasizes...
...the role of the working class...
...of the people who work in different trades...
...and what they mean to Mexico.
Of course, their economic importance...
...but also the social importance, their solidarity...
...and back then, Pablo was so deeply interested in the workers...
...and in the unions, which he regarded as...
...and perhaps I shouldn't say this, but as "sacred"...
...because they believed in unions and thought they helped the workers.
I think he believed it was a sort of achievement.
A response for all those people working in different trades.
And that lady sweeping downstairs is called Panchita...
...she has big eyes and a small mouth...
...and I don't know what I feel when she looks at me...
What interests me is the man of today...
...his problems and the best way to solve them.
We must face problems...
...and try to do something for the people.
It's 10:28 in the morning, great! Our usual musical companion...
...Invasores del Norte, Alegres de la Sierra, Tiranos del Norte and their hits.
Today, February 22, we say hello to all the people working out there...
...and by the way, since it's the month of love, Saúl Salgado...
...has some chocolate for those who are in love this month...
...and we have some greetings for people in Naucalpan, hope they'll finish work soon.
Hello to architect Rafa Segovia and Emmanuel on Universidad Avenue...
...good morning to Concepción, Noé and Juanita, who are...
...listening to us this morning.
The people are together! No one will defeat us!
The people are together! No one will defeat us!
The people are together! No one will defeat us!
It was an environment to learn...
...not only about things...
...related to the artistic reality we had to show the Mexican people...
...as a message, but also the important political content it conveyed...
...as well as a criticism of corruption in those days.
I would leave the studio and draw in the street.
I would try to know the life and character of the people I found in the street.
Anything interesting.
I kept showing interest in the people...
...from Mexico and also from other countries.
For instance, what's happening now in our Latin America...
...is part of my interest in those people.
What matters is their struggle.
Undoubtedly, we are in a difficult situation...
...but we have to face problems and try to do something...
...for the people.
It doesn't matter if the country is in chaos...
...we must always fight.