The documentary video Orozco: Man of fire, directed and written by Laurie Coyle along with Rick Tejada-Flores, first debuted on American public television in 2007. In 2022, a century after the birth of Mexican muralism, the documentary was translated into Spanish and once again aired on American public TV. It was also showcased at the National Arts Center.
This marked the first occasion that the PBS American Masters series aired a Spanish production, an opportunity which they used to re-air the original English version. Coyle sees this as an innovative
move, reflecting the need for greater inclusivity and representation.
In the original documentary, Anjelica Huston provides the narration, while Damián Alcázar voices José Clemente Orozco. For the Spanish version, Alcázar’s voice is retained, and the narration is performed by actress Arcelia Ramírez.
Coyle visited Mexico for the Spanish screening of Orozco: Man of fire, held at the José Vasconcelos main hall of the National Center for the Arts. She was accompanied by Laura González Matute, a researcher specializing in the Jalisco muralist at the National Center for Research, Documentation and Information of Plastic Arts.
Coyle’s fascination with Orozco began during her university days when she studied Spanish in Mexico and visited museums and specific sites showcasing Orozco’s work. She later wondered why Diego Rivera and David Alfaro Siqueiros were recognized in the United States, but Orozco was not.
Upon her return to Mexico in the 1980s, Coyle took interest in Orozco’s easel work, which she found extraordinary
. She again pondered the lack of recognition for Orozco in his home country, despite his significant influence on the 1930s mural movement, supported by President Franklin Delano Roosevelt’s government. She then began to raise funds for the documentary.
Coyle was struck by the fact that Orozco’s art was a testimony
to the catastrophes and tragedies of his era. She was drawn to this type of art, similar to Francisco de Goya or the German Expressionists. She admired how Orozco, as an expressionist, brought this style to mural painting. His critique of Quetzalcóatl and Hernán Cortés also intrigued her.
▲ Clemente Orozco, captured by Héctor García in 1948.
Coyle was surprised to learn that Orozco, whose art she had fallen in love with, had only one hand. She was amazed that he could be a muralist, a physically demanding occupation, despite having lost his left hand. For Coyle, this was one of the many challenges Orozco had to overcome. She found his art and personal life intriguing and inspiring. Orozco started painting his first murals at the age of 40.
The documentary delves into lesser-known aspects of Orozco’s life. For instance, Siqueiros and Orozco were initially sidelined in the first mural projects, not beginning until 1923 or 1924. Siqueiros and Orozco, despite their differing personalities, got along well in art school. Even Rivera respected Orozco’s work, and considered him to be the most significant muralist in Mexico.
Dramatic portrait
The film also explores the muralist’s relationship with dancer Gloria Campobello, shedding light on Orozco’s personal life.
Creating a documentary differs from writing a book. While it is chronological, it is not a biography due to time constraints. Coyle carefully selected the elements she wanted to emphasize, creating a dramatic portrait that encapsulates Orozco’s life and work. She focused on the crucial moments in his life and career, weaving them into a cohesive narrative that audiences can relate to and appreciate.
Currently, Coyle is working to increase the documentary’s visibility in Mexico, with a particular focus on public television.
