Taking place in 1580 Seville, the 2017 series “The Plague” by Alberto Rodríguez represents a pivotal moment in Spanish television, illustrating how Spain diverged from its intended path.
Based on a non-fiction work by Javier Cercas, “Anatomy of a Moment” showcases acclaimed actor Alvaro Morte (“Money Heist”), and received accolades following its premiere at the San Sebastián Film Festival in September. The series captures the transformative years from 1976 to 1981 when Spain managed to reinforce its democracy, albeit precariously.
Described as a “portrait of power and freedom, or at least the quest to sustain freedom for the future,” Rodríguez tells Variety that this suspenseful drama kicks off with the climactic event: a group of roughly 200 Civil Guards storming Spain’s Congress, under the leadership of the gun-wielding Lieutenant Colonel Antonio Tejero. While many congressmen dive for cover, three individuals remain seated, resolute in their stance against the coup d’état. This gripping scene was broadcast live on national television and features outgoing Prime Minister Adolfo Suárez, Santiago Carrillo, leader of the Communist Party, and Manuel Gutiérrez Mellado, the military chief who, despite his frail age, demanded the rebel guards disarm.
Each of the three key figures receives dedicated exploration in individual episodes: Episode 1 highlights Suárez’s efforts in persuading Franco’s parliament to abolish itself; Carrillo’s return to Spain to secure the party’s legality, and Gutiérrez Mellado’s pursuit to reform the military by eliminating its radical elements. Rodríguez describes these individuals as having “Shakespearian stature,” illustrating their complexities, challenges, and their struggles against their own backgrounds.
This narrative delves into the lives of three perceived traitors. Suárez defied his commitment to Franco’s National Movement; Carrillo renounced the fundamental principles of his party; and Gutiérrez Mellado chose to betray fellow officers who had fought for Franco during the Civil War, aiming to uphold a Francoist government decades later. The concluding episode revisits the coup d’état, discussing its collapse and the subsequent trials of its conspirators.
“The Anatomy of a Moment,” although fictionalized, captures moments with flair—it employs ellipsis effectively. In Episode 1, a young Falangist Suárez guides a general, and the scene transitions seamlessly to him as the governor welcoming another general, accompanied by a sharp narration primarily crafted by Rafael Cobos and Fran Araújo, which elucidates character nuances and historical narratives. “Your friend only has one political ambition: to prosper,” remarks Alfonso Armada to King Juan Carlos upon Suárez being named Prime Minister. The narration concludes, “And he was entirely justified in doing so.”
The different episodes embrace distinct genres: political satire as Suárez entices Franco’s parliament with offers of vacations; espionage suspense as Carrillo enters Spain incognito; and legal drama in the final episode, underscoring themes of fading memory as Suárez, plagued by Alzheimer’s, loses his identity.
Variety had a conversation with Rodríguez at the San Sebastián Festival where “The Anatomy of a Moment” made its world premiere, described by “El Mundo” as “magnetic” and by “El Correo” as “the series of the year.”
Your film “Marshland,” which won the Goya for Best Picture, is set in 1980 amid Spain’s transition to democracy after the dictatorship. What drew you back to this era?
Domingo Corral and Jose Manuel Lorenzo suggested I read Javier Cercas’ book, and after doing so, I found it utterly compelling. It reshapes reality, presenting what could be seen as a remarkable fiction. The profound conclusion speaks to oblivion—the way everything fades into nothingness, including our references. Cercas mentions a poll in the U.K. reflecting that many believed Churchill was fictional.
The book, much like your series, focuses on three central figures, despite the premise of TV drama often relying heavily on its characters to entice viewers back for a sequel.
Indeed, Suárez, Carrillo, and Gutiérrez Mellado were remarkable personalities, each with intricate dramatic journeys. They were deeply human, complex, and charismatic, exuding a Shakespearian presence.
<strong A pivotal scene is when Suárez arranges a secret first meeting with Carrillo after his return. They instantly click against all odds…
At one point, Suárez tells Carrillo: ‘Don Santiago, you and I are the only genuine politicians in this nation.’ They can sense each other’s vulnerabilities—echoes of their egos. They are intricate characters with many layers.
The series’ voiceover stands out for its irony, poetic tone, and connection to present and future themes…
Approximately 15% is sourced from Javier Cercas’ work, while the remainder comes from Rafa [Rafael Cobos] and Fran [Araújo]. It seeks to clarify the key themes and arcs of the story. The book spans 500 pages, so we had to condense a lot.
The performances by your cast are remarkable, particularly Alvaro Morte as Suárez. When Álvaro first donned the prosthetic nose, he transformed completely. He studied numerous videos and references. Suárez embodied elegance, always presenting himself impeccably. Álvaro has that same elegance.
What would you say sums up the essence of the series?
It is a portrayal of power and freedom, or the ongoing effort to preserve freedom for generations to come.
