The memories of the country. It was

The death of the dictator in1975 left the country in a context of economic crisis and political unrest. It was a timeof change for a country coming out of a military dictatorship, that wasexperiencing its transition to democracy. Thus, Mario Camus started writinga script for Los días del pasadoalong with Antonio Betancor in 1976. That year belongs to a period of labourand social unrest repressed by Carlos Arias Navarro’s Government.  During those days, clandestine parties such asPSOE and PCE, leaders of the opposition, assemble in order to create a ‘Platajunta’and fight against social and labour injustice.

 People in the street claim for freedom, and amnesty,holding meetings and demonstration marches. Juan Carlos I, the king, criticisesArias Navarro publicly and makes him resign as the Prime Minister of Spain inJuly, 1976, becoming the last Francoist president of the country. Following histerm in office, Spain experienced a rupture with the previous regime by choosingAdolfo Suárez, a liberal politician, as Arias Navarro predecessor.  Suárez became Prime Minister of Spain in July3rd, 1976, and also the first President to be democratically electedsince the Second Spanish Republic.

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Due to his Political Reform project, whichled a change from Francoist laws and policies to the rules of democracy, Suárezbecame essential in the transition of the country. Due to that, universalsuffrage was possible in order to elect a dual chamber for the Government.Soon, the legalization of political parties followed.  Oppositionparties such as Democratic Junta –driven by PCE- and Democratic ConvergencePlatform –lead by PSOE- left their clandestine nature behind.

As a matter offact, he pursuit of democracy led to an unstoppable advance of the opposition,integrated by people who fought for freedom of expression, criticism, and openness;and who were willing to regain the long-forgotten memories of the country. It was time torecover the identity and, therefore, the memories of those who were written offthe history of the country. It was time to talk about the losing side, thosewho were treated as whether they were thieves, criminals, and accordinglyundesirable people. Fortunately, along with Suárez reform came the newcinema law, which slowly led the way to those topics that were both forbidden andnullified by Francoist government during the dictatorship -besides, the law abolisheda prior script censorship- what allowed Camus to continue with hisantifrancoist film. Thus, Los días delpasado opened for the first time in 1977, becoming one of the first filmsto openly talk about ‘maquis’ and ‘la guerrilla’ life in the North of Spain inthe first years of the dictatorship.