Verónica Forqué Gave Everything Away And Got Rid Of Her Goyas: Her Close Friend Tells How It Was

Verónica Forqué threw away everything that was half broken. Anything with a scratch, a scuff, the slightest bit of wear and tear: out. She spilled tons of positive energy, the Forqué. Talent, sweetness, ingenuity, the most beautiful smile in Spanish cinema and two tablespoons of spartanismo, the antithesis of Diogenes syndrome.

“Everything in life is symbolic. If I had a state-of-the-art phone, well, I wasn’t going to give it to you. But you could say that I had detachment from the material. He was more attached to the spiritual and that is why he got rid of many things, “he declares to EL ESPAÑOL | Porfolio Antonio Panizza (Güéjar Sierra, Granada, 1953), well known in the profession as a hairdresser and film stylist, but not so much in the facet that matters most to him: that of Close friend of Verónica Forqué.

Panizza is another vast orchard of art and ingenuity, his know how manipulating the hair of stars like Geraldine Chaplin (77), Jessica Lange (72) or Penélope Cruz (47) it earned him a Goya award in 1999. It was for The girl of your eyes (Fernando Trueba, 1998). But it is not the only bobblehead that shines in its display case: it has two. The other was a gift from her best friend, her soulmate, Verónica Forqué. The same one that left him last December 13 orphan, widower and lonelier than he ever could have imagined. To him and to all of Spain, which was shocked by the death of the beloved actress, who was only 66 years old.

Antonio Panizza and Verónica Forqué on November 10, a month before the death of the actress.

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Why was one of the Models highlights for Antonio Panizza, who has spent more than three decades working with actors and directors of international rank. But little has been written about what went beyond the merely professional: their unbreakable brotherhood. Because in addition to having created some of the most iconic hairstyles in the history of Spanish cinema, this hairdresser from Granada has always been discreet.

“It is very difficult for me to talk about Veronica. Something dies in the soul when a friend leavessays the song, right? But I want to say that I will always feel your absence, that I have her in my memory, that I have her smiling in my mind. We talked many times a day and now it can’t be, but come on, when I was on the treadmill this afternoon he told me: ‘Attend to the journalist and don’t bother you anymore,'” Panizza says with tenderness and some pain.

And he continues: “But well, she is already resting… Taking care of us, because she was a born caretaker. It is a joy and a privilege to remember her in her times of joy, enthusiasm and purity. I don’t remember my mother’s voice, but I hear Veronica’s constantly“.

The stylist recalls when he met her and how the friendship with his tireless companion arose, which lasted until the last of his days: “I met her doing theater, barefoot in the park, in Granada. And the first time we worked together was in Of what do women laugh about? (Joaquin Oristrell, 1997). Then we became more intimate, as time went on, until we became friends. The last movie we made together was come out of the closet, that the two of them were there, Rosa María Sardá and her…”, she evokes, lowering her tone, as if realizing that she is also missing another friend.

His words towards Veronica can only be of admiration, of affection, of love. “My testimony can only be that of the admiration that I will always feel for her. I love her, I remember her with joy, with her sense of humor, she was always positive. And it’s not that she reveals anything special, it’s that you’ve all met her. She has given everything: short and long distances,” says Panizza.

And such was his generosity and his irrepressible desire to give everything, that even gave him one of his Goya awards. Because if. Because that was Vero. “I have mine on one shelf and his is on another. The two Goyas are holding film books: An Andalusian Dog 80 Years Later, All About My Mother, History of Cinema, The Forgotten, Spanish Cinema, Hollywood… All cinema. Can’t you see that we have been making cinema for more than 30 years? Look, I just dropped all the books to get his Goya!“, he exclaims.

Antonio Panizza's Goya and Verónica Forqué's hold film books on two shelves in the hairdresser's home in Granada.

Antonio Panizza’s Goya and Verónica Forqué’s hold film books on two shelves in the hairdresser’s home in Granada.

Courtesy of Antonio Panizza

“How was the moment when he gave it to me? Well I would surely ask him (laughs)“, he remembers with joy and emotion. “I would tell him: ‘Hey, I want him for the business and for him to do publicity or anything like that’… Or would it be the other way around: ‘Do you want it? I give it to you!’ He gave it to me, but I don’t know on what date, maybe on a birthday. What I know is that it was after I won mine. I won mine in 1999, for The girl of your eyes, which is from 98… well, it would be a little later. Over there”.

Panizza is silent, reflects, keeps a few seconds of silence and expresses with a point of hooligan honesty: “It was horrible to take him away… You have no idea how much it weighed. Veronica’s Goya can weigh eight or nine kilos. Mine will weigh about two kilos, but hers weighed a lot”. It wasn’t eight, nine or ten kilos. The award that Forqué won for Best Supporting Actress for the year of lights (Fernando Trueba, 1986) exceeded 15.

Verónica Forqué's Goya, in the foreground, and Panizza's, in the background.

Verónica Forqué’s Goya, in the foreground, and Panizza’s, in the background.

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The first pigheaded, that of the inaugural ceremony for the delivery of the Annual Awards of the Film Academy, known to all as the Goyas, in 1987, It was a design by the Malaga sculptor Miguel Ortiz Berrocal. It was a bronze sculpture, removable, with a movie camera inside and accompanied by a badge typical of the awards. Best Female Supporting Performance 1987, it says in capital letters in Forqué’s. Sculptors such as Jorge de Oteiza and Eduardo Chillida, among others, influenced Berrocal’s work, which used classical themes such as torsos, heads or reclining figures. Perhaps that is why the Film Academy thought of him to design the emblematic awards.

The first great gala of the Goya It took place on March 17, 1987 at the Lope de Vega Theater in Madrid. The presentation was given by the well-remembered actor Fernando Rey and was attended by the illustrious presence of the then kings of Spain, Juan Carlos I (84) and Sofia (83). No one wanted to miss the award ceremony for the highest award in Spanish cinema, yesterday and still today, 35 years later. No one, except one person, an award-winning actress: Verónica Forqué.

Jose Luis Gomez and Ana Mariscal were in charge of announcing the Goya for Best Supporting Actress, which went to Forqué for her performance as Irene in the aforementioned film by Trueba. The interpreter could not attend the gala. “The Academy congratulates Verónica Forqué and receives the award on her behalf because she is absent for work reasons,” said Gómez. And so up to four times.

In 1988, just one year later, the golden envelopes that contained the names of the winners carried Veronica’s name up to twice in the same ceremony. It was his big moment. Your work in The happy life (Fernando Colomo, 1987) awarded her one of the top awards of the night, Best Leading Actress, and also won the Goya for Best Supporting Actress for her role as Monique in Moors and Christians (Luis Garcia Berlanga, 1987). He didn’t pick them up.

Three Goya awards seemed not to be enough. In 1994, under the orders of Pedro Almodóvar (72), Forqué got into the skin of the unforgettable and pizpireta Kika. Goya for Best Leading Actress and could not pick it up either. His father did it, the great producer and film director José María Forqué. His work in the cinema was done and he was not interested in collecting those sweet fruits. The reasons for his absence on all four occasions were the same: he had to answer to his audience now in the theater. His dedication, effort, dedication and professionalism were above the recognition, to which he gave importance at the time, but not much…

When Verónica Forqué passed away, the actress only kept one of the four statuettes she won. This magazine has been able to find out the whereabouts of the other three Goyas. The first is treasured by Antonio Panizza, the second has Nancy, a woman from Palma de Mallorca who raised María Iborra (31), the daughter that Verónica Forqué had with film director Manuel Iborra. And the third, between moves, was lost. And as she herself said in a television interview: “And whoever finds it, let him keep it“. Veronica Forqué’s word.

Antonio Panizza looks with great affection at his great friend Verónica Forqué.

Antonio Panizza looks with great affection at his great friend Verónica Forqué.

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Unfortunately, on the morning of December 13, couldn’t take it anymore. This sempiternal figure of the seventh patriotic art decided to take his own life in the bathroom of his house, located in the Madrid neighborhood of Chamartín. He had been through several depressions. The lifeless body of the famous actress, loved and admired by all, was found by the lady in charge of her household, a woman of Nepalese origin with whom she had an extraordinary relationship and with whom she communicated in English.

Quickly, Minuca -That’s what it’s called- notified the emergency services from SUMMA 112 and to the National Police warning of a suicide attempt. The agents and health workers who went to the home, located at number 7 Víctor de la Serna street, could do nothing for his life.

This past Wednesday it was learned that a park located in the area where he lived will bear his name, after the proposal presented by Más Madrid has gone ahead unanimously in the plenary session of the district. The heartfelt initiative has had the full support and approval of his daughter, María, and also of well-known faces in the Spanish social and cinematographic world such as Juan Echanove (60), Ana Belén (70) or Miguel Ríos (77), among others.

His legacy is not only his infinite filmography, his unforgettable and genuine phrases or his timeless scenes, but also the love of his audience, his friends and his daughter. Broken with pain in a thousand pieces is Maria, the young artist whom this magazine has tried to contact by various means, but the answer is always the same: “She doesn’t want to do anything now and she’s disconnected from the world. She’s been a very big stick and she’s processing it.”

Verónica Forqué was Kika, Pepa, Chusa, Eva, Sofía, Irene, Isabel and Bárbara, among many other incredible women whom she brought to life on the small and big screen. The culture of this country has the opportunity to offer her the definitive tribute at the next awards gala where her name was loud and echoed up to four times, making her the woman with the most Goya awards in the history of the awards.

Valencia will host the 36th Goya Awards, which will be held on February 12, culminating the celebration of the Berlanga Year, with which the Film Academy commemorates the centenary of the birth of one of the fathers of the institution and a benchmark of Spanish cinematography. This year, Veronica will also be there, but in the section where no one would have ever wanted to see her: that of the members of the Academy who left us.

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