|
¡Tango!
''¡Tango!'' is a 1933 Argentine musical romance film, the first film to be made in Argentina using optical sound technology (but not the first sound film.) Many existing stars of the Argentine stage and radio appeared in the film, but its success was limited due to poor sound quality and weak acting. ''¡Tango!'' established a formula that would be used by many subsequent tango films. Along with ''Los tres berretines'', which premiered the same year, it inaugurated the Golden Age of Argentine cinema. Synopsis ''¡Tango!'' follows a formula established by Carlos Gardel with films such as ''Luces de Buenos Aires'' (''The Lights of Buenos Aires'', 1931) in which a melodramatic story is interspersed with tango songs. However, the film had less dialog and more music, making it more like a musical revue. This format would be copied by many subsequent films. The plot is derived from tango songs. Many of these songs tell of the seduction of an innocent slum girl by a rich man who promi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Golden Age Of Argentine Cinema
The Golden Age of Argentine cinema (Spanish language, Spanish: ''Época de Oro del cine argentino'' or other equivalent names), sometimes known interchangeably as the broader classical or classical-industrial period (Spanish: ''período clásico-industrial''), is an era in the history of the cinema of Argentina that began in the 1930s and lasted until the 1940s or 1950s, depending on the definition, during which national Film industry, film production underwent a process of industrialization and standardization that involved the emergence of mass production, the establishment of the Studio system, studio, Film genre, genre and Star system (filmmaking), star systems, and the adoption of the institutional mode of representation (MRI) that was mainly—though not exclusively—spread by Cinema of the United States, Hollywood, quickly becoming one of the most popular film industries across Latin America and the Spanish-speaking world. Argentine industrial cinema arose in 1933 wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tita Merello
Laura Ana "Tita" Merello (11 October 1904 – 24 December 2002) was an Argentine film actress, tango dancer and singer of the Golden Age of Argentine cinema. In her six decades in Argentine entertainment, at the time of her death, she had filmed over thirty movies, premiered twenty plays, had nine television appearances, completed three radio series and had had countless appearances in print media. She was one of the singers who emerged in the 1920s along with Azucena Maizani, Libertad Lamarque, Ada Falcón, and Rosita Quiroga, who created the female voices of tango. She was primarily remembered for the songs "Se dice de mí" and "La milonga y yo". She began her acting career in theater and may have made silent films. She debuted on the first sound movie produced in Argentina, ''¡Tango!'', with Libertad Lamarque in 1933. After making a series of films throughout the 1930s, she established herself as a dramatic actress in La fuga (1937), directed by Luis Saslavsky. In the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Argentina Sono Film
Argentina Sono Film S.A.C.I. is an entertainment company based in Buenos Aires that was one of the most important studios during the Golden Age of Argentine cinema of the 1930s–1950s, as well as the only one to have survived the period. In its current format, it serves as a production and distribution company. History First decade, founding and development Luis José Moglia Barth, the director of several films in the silent era, made a proposition to Ángel Mentasti, a prominent businessman in the film industry, to direct a sound feature film based around tango; this formed the beginnings of Argentina Sono Film. The name of this film was to be ¡Tango!, in which popular figures, already well known by the public, would sing and dance throughout. The stars which Mentasti recruited were: Azucena Maizani, Luis Sandrini, Libertad Lamarque, Mercedes Simone, Tita Merello, Pepe Arias, Alberto Gómez, Alicia Vignoli, Meneca Tailhade and Juan Sarcione. ¡Tango! thus became ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Libertad Lamarque
Libertad Lamarque Bouza (; 24 November 1908 – 12 December 2000) was an Argentine and Mexican actress and singer, became one of the most iconic stars of the Golden Age of cinema in both Argentina and Mexico. She achieved fame throughout Latin America, and became known as "La Novia de América" ("The Sweetheart of the Americas"). By the time she died in 2000, she had appeared in 65 films (21 filmed in Argentina, 45 in Mexico and one in Spain) and six telenovelas, had recorded over 800 songs and had made innumerable theatrical appearances. Biography Libertad Lamarque was born in Rosario, Santa Fe Province, Argentina to Gaudencio Lamarque (1874-1947), an Uruguayan of French descent, and a widow of Spanish origin, Josefa Bouza (1863-1932). (Spanish) She was named Libertad (which means "Liberty ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Luis Moglia Barth
Luis Moglia Barth (12 April 1903 - 18 June 1984) was an Argentina, Argentine film director and screenwriter, and one of the influential directors in the Golden Age of Argentine cinema. He directed some 30 films between 1927 and 1959, often screenwriting for his pictures. He died in Buenos Aires, aged 81. Filmography Director: * ''Puños, chárleston y besos'' (1927) * ''El 90'' (1928) * ''Consejo de tango'' (1932) * ''¡Tango!'' (1933) * ''Dancing (1933 film), Dancing'' (1933) * ''Riachuelo (film), Riachuelo'' (1934) * ''Picaflor'' (1935) * ''Amalia (1936 film), Amalia'' (1936) * ''Santos Vega (1936 film), Santos Vega'' (1936) * ''¡Goal!'' (1936) * ''Melgarejo'' (1937) * ''La casa de Quirós'' (1937) * ''Melodías porteñas'' (1937) * ''El último encuentro'' (1938) * ''Paths of Faith'' (1938) * ''Doce mujeres'' (1939) * ''Una mujer de la calle'' (1939) * ''Huella (1940 film), Huella'' (1940) * ''Con el dedo en el gatillo'' (1940) * ''Confesión ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pedro Maffia
Pedro Mario Maffia (August 28, 1899 – October 16, 1967) was an Argentine tango bandoneonist, bandleader, composer and teacher, as well as starring in several tango films. Early years He was born in the Balvanera neighborhood of Buenos Aires, the son of Italian immigrants Angelo V. Maffia and Luisa Spinelli from Lombardy. Maffia had a hard upbringing; he was beaten with a chain by his father and lived in dire poverty. At the age of eleven, he studied bandoneon under the teacher Pepín Piazza. At the age of fifteen, he roamed the cafés of Villa Crespo and had already composed the tango ''Cornetín''. His first musical studies were in piano. Later, he would create the first bandoneon study method. At sixteen, he debuted at the Iglesias bar on Corrientes Street, also playing in obscure brothels in the province of Buenos Aires, performing for tips (since he was underage at the time, and frequently ran away from home—usually to go to the port of Bahía Blanca, in the province of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Azucena Maizani
Azucena Maizani (17 November 1902 – 15 January 1970) was an Argentine tango singer, composer and actress. She was discovered in 1920 by Francisco Canaro and quickly emerged as a major star. Her frequent appearances on stage and radio made her the female counterpart of Carlos Gardel although she did not enjoy as successful a film career as he did, appearing in a handful of films of the Golden Age of Argentine cinema including ''¡Tango!'' (1933) and '' Buenos Aires Sings'' (1947). During many years she gave performances dressed with men's suits or criollo cowboy attire for which she was known by the nickname "Funny-face Cowgirl", given to her by Libertad Lamarque in 1935. Early years Maizani was born in Buenos Aires on 17 November 1902. She lived in the Palermo neighborhood until she was five in which, because it seemed that she had health problems and her parents were very poor, she was taken by some family members to live on Martín García island. On that island located in th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Luis Sandrini
Luis Sandrini (22 February 1905 – 5 July 1980) was a prolific Argentine comic film actor and film producer. Widely considered one of the most respected and most acclaimed Argentine comedians by the public and critics. He made over 80 appearances in film between 1933 and 1980, and was one of the most popular actors of the Golden Age of Argentine cinema. Early life Sandrini was born in the Buenos Aires neighborhood of Caballito to Italian immigrants from Genoa. His father was a theatrical actor, and Luis began to work in a circus next to his parents, like clown. In the 1930s he entered the theatrical company of Enrique Muiño and Elías Isaac Alippi, where he met his first wife, the actress Chela Cordero. Made his debut in the cinema in 1933 acting in the first Argentine sound film ''Tango'' (directed by Luis Moglia Barth) in which he worked with a great of the theater of magazines like Pepe Arias and the stars of the tango Libertad Lamarque, Azucena Maizani, and Tita ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Los Tres Berretines
''Los tres berretines'' (''The Three Whims'') is a 1933 Argentine black and white comedy film, the first film made by the newly formed Lumiton film studio, and one of the first sound films made in Argentina. Along with ''¡Tango!'', released that same year, the film is credited with inaugurating the Golden Age of Argentine cinema. It was a great success and launched the film career of the comedian Luis Sandrini. In 2022, the film was included in Spanish magazine ''Fotogramas''s list of the 20 best Argentine films of all time. Synopsis The film has traditional popular melodrama plot elements, and includes performances of tango songs. It depicts a family whose members are obsessed with the three national ''berretines'' (interests or hobbies) of tango, football and cinema. (In the play the last ''berretín'' was radio.). The family is middle class and makes its living from a hardware store. The father complains that the hobbies lead the family to neglect business. In the end, the fathe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pepe Arias
Pepe Arias (''José Pablo Arias Martinez''; 16 January 1900 – 23 February 1967) was an Argentine people, Argentine actor and comedian, notable for his work during the Golden Age of Argentine cinema. Early years José Pablo Arias Martinez was born in the former Abasto district of Buenos Aires on 16 January 1900. He first appeared on stage in 1916, and became a remarkable stage actor in grotesque, comedy and drama roles. In 1922 the influence of the company of Madame Rasimi and her Ba-Ta-Clán, arrived from Paris, established the structure of the Buenos Aires revue. Arias learned his art among the founders of Argentine theater, such as Luis Arata and Enrique Da Rosas. He perfected all the elements of farce and grotesque, with his face painted with extreme make-up. He also played serious roles, and earned the Municipal Award for best dramatic actor for his performance in ''Ovid'' by Laurent Doillet at the Odeon Theatre in 1942. Film and radio Arias' style became established when ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Juan De Dios Filiberto
Juan de Dios Filiberto (8 March 1885 11 November 1964) was an Argentine violinist, conductor, poet and composer who became prominent in the Argentine tango genre. Life and work He was born Óscar Juan de Dios Filiberti in 1885 to Josefa Roballo, a mestizo descendant of one of the founding fathers of Argentina, Martín Rodríguez, and Juan Filiberti, a Genoese immigrant.El Portal del Tango: Juan de Dios Filiberto Archive from 7 February 2012 (accessed 28 November 2016). An uncle introduced him to at the age of six, though he was forced to leave school at age nine, entering the labor force as a [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Juan D'Arienzo
Juan d'Arienzo (December 14, 1900 – January 14, 1976) was an Argentine tango musician, also known as ''"El Rey del Compás"'' (''King of the Beat''). He was a violinist, band leader, and composer. He was the son of Italian immigrants and used more modern arrangements and instrumentation; his popular group produced hundreds of recordings. His first memorable performance was in 1919 at the Nacional theater during the comic play by Alberto Novión, ''El cabaret Montmartre''. He received the nickname Rey del Compás (King of the Beat), from Príncipe Cubano, at the Florida cabaret when he was replacing Osvaldo Fresedo. He said: "Mine was always a tough orchestra, with a very swinging, much nervous, vibrant beat. And it was that way because tango, for me, has three things: beat, impact and nuances. An orchestra ought to have, above all, life. That is why mine lasted more than fifty years. And when the Prince gave me that title, I thought that it was OK, that he was right." His m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
