Paris died last Monday night, as reported by ICAIC´s Cubacine website; and yet his restless lens has bequeathed a vast number of movies, which are highly valuable as part of the national cinematography, since they reflect that aesthetic commitment with his revolutionary stance.
Cuban generations have been impressed by movies of his like Caravana (1990), which was co-directed by Julio César Rodríguez. His peculiar way of retelling armed conflicts and the way of approaching moral and ethical values like allegiance to ideals, patriotism, companionship and courage stands out in that movie, as well as in Patty Candela and Kangamba.
But the cinematographic vision of Rogelio went much further and found many other ways of approaching the Cuban reality. One of them was his attention to the quality of our sonority, about that stands out the documentaries on Varadero Festival (1986) and Nosotros la música (1964), a panoramic material concerning Cuban melody and dance in the 1960´s, which connoisseurs often qualify as “unusual,” in which legendary Cuban artists are involved.
That kind of music stands out in Paris´ documentary productions, in which Los hombres de Renté, No tenemos derecho a esperar and Leyenda are inserted. Likewise, the work for the television by Rogelio has much to commend it, with the advertising Talento y ternura and Amasando estrellas, as well as the TV series Historias sumergidas (2001), which he directed, in addition to writing the script of its 12 episodes. Always willing to teach, Rogelio was full professor on Film Directing at the School of Movie, Radio and Television of the Higher Institute of Art, and in 2009 he was awarded the special category Professor of Merit.
After his decease, Rogelio Paris, born in Havana in 1936, leaves a void in the national cinematography to which he made essential contributions.Translated by ESTI