It was through Carmen Carrión, his partner at the time, that this Argentinean actor gained access to Franco’s cinema. If not much of an actor, at least he looked good, what with his gaunt face, long jaw, high forehead and green eyes – occasionally and perhaps significantly seen in tight close-up.
Katz’s placement in Franco’s casts was changeable, ranging from minor roles to prominent supporting ones, especially villains, for whom his appearance seemed particularly suited. On the odd occasion, as in Mil sexos tiene la noche (1984), he would be entrusted with the male lead, apparently on account of Antonio Mayans’s inability at the moment to leave Madrid and accompany Franco to the director’s favoured Andalusian or Canarian locations. It makes sense, in this respect, that he should sometimes be dubbed by Mayans.
Katz remained with Franco for long, sometimes performing other duties than that of performer. In the 1989 La bahía esmeralda, he is billed as actor (in which capacity I have not been able to recognise him there) and also credited with the wardrobe; some time later, in 1994, he acted in Downtown Heat (1994), as well as being placed in charge of the art direction.
Sangre en mis zapatos (1983)
La tumba de los muertos vivientes (1983)
El tesoro de la diosa blanca (1983)
Historia sexual de O (1984)
Mil sexos tiene la noche (1984)
Dark Mission: Flowers of Evil (1988)
Downtown Heat (1994)
On only one occasion, Katz took leave of his association with Franco. He can be seen as the sinister gardener in José Ramón Larraz’s Rest in Pieces (1987)
Daniel Katz in Larraz’s Rest in Pieces
Text by Nzoog Wahrlfhehen
high forhead man
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