davidtraversa-96947
Joined Mar 2016
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davidtraversa-96947's rating
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davidtraversa-96947's rating
I wasn't going to write a review after watching this picture on You Tube, being already a seventy years old film, but seeing not one single review on IMDb, I felt someone should say something about it. After all, making a film implies a great deal of effort from everyone involved and that alone deserves some recognition.
Also, Mirtha Legrand, being alive and well today (92 years young), deserves a good deal of consideration for such a long and fruitful career.
About the film:
It was such a surprising breath of freshness and delightful nonsense to watch this very light comedy, entertaining in every single scene, utterly absurd and yet so catching with a completely unreal plot, played masterfully by a bunch of seasoned actors and actresses (all of them dead by now, save the female protagonist), that it leaves one with an inner sense of joy and lightness.
Seventy years is too long of a period in social mores, we've seen so many changes in that respect, that one has to set his/her mind to 1947 to get into this film. If you are able to do that, you'll have a delightful time watching this movie. If you are not..., forget completely that you saw my review and look around for newer stuff.
Also, Mirtha Legrand, being alive and well today (92 years young), deserves a good deal of consideration for such a long and fruitful career.
About the film:
It was such a surprising breath of freshness and delightful nonsense to watch this very light comedy, entertaining in every single scene, utterly absurd and yet so catching with a completely unreal plot, played masterfully by a bunch of seasoned actors and actresses (all of them dead by now, save the female protagonist), that it leaves one with an inner sense of joy and lightness.
Seventy years is too long of a period in social mores, we've seen so many changes in that respect, that one has to set his/her mind to 1947 to get into this film. If you are able to do that, you'll have a delightful time watching this movie. If you are not..., forget completely that you saw my review and look around for newer stuff.
Neither have I. But if you want to feel first hand life in an alien civilization, I highly recommend you to watch this 1950s Argentinian movie.
The main character, played by the tango singer/actor Alberto Castillo, is supposed to come back to Argentina after a 20 year period, during which he became a very popular singer in other countries and now decides -nostalgia- to return to his native country where he has a flamboyant reception during his opening night in front of an adoring public.
Neighborhood chums he frequented as a child and young teenager went all of them to their old friend's premiere, hoping maybe to see him after the show and remember old times with him.
This movie has all the ingredients to grab the least intellectual part of the population, done during the best times of the Peronismo, movement that talked directly to their "Dear shirtless", that adored Perón and Evita.
His career was meteoric and his popularity lasted for over twenty years.
I mentioned at the beginning an "alien civilization" in the sense that seventy years later we watch this movie in awe seeing the complete change in customs and emotional reactions these people have in front of different happenings that nowadays would mean very little or nothing at all to us.
The acting is OK for this type of production, entertaining, fast, dynamic editing, but something that really took my breath away was to notice in the theater scene, where those two are seating and carrying on a dialog while the surrounding crowd remains frozen, like statues, in what nowadays we know as Mannequin Challenge, where you gotta stay still and do nothing. They all held their positions during the whole sequence! When one thinks that they came up with such an aesthetic solution SEVENTY YEARS AGO, one realizes that there is nothing new under the sun.
We must know that Alberto Castillo the man, in real life, became a certified Dr. gynecologist, because his Italian parents (Alberto Salvador De Lucca, his real name) wanted him to have some "real" profession, since they considered tango singing to be a doubtful way of making a living.
But since women started going to see the "gynecologist singer" in droves after seeing him in movies, he decided it was time to close his practice to become only a tango singer, and his legend started.
His parents must have been very surprised when their son became an Argentinian idol for the lower classes, adored by them, making a handful of incredibly popular movies, singing in theaters all over the country and Latin America, making records, etc.
Alberto Castillo died at 87.
The main character, played by the tango singer/actor Alberto Castillo, is supposed to come back to Argentina after a 20 year period, during which he became a very popular singer in other countries and now decides -nostalgia- to return to his native country where he has a flamboyant reception during his opening night in front of an adoring public.
Neighborhood chums he frequented as a child and young teenager went all of them to their old friend's premiere, hoping maybe to see him after the show and remember old times with him.
This movie has all the ingredients to grab the least intellectual part of the population, done during the best times of the Peronismo, movement that talked directly to their "Dear shirtless", that adored Perón and Evita.
His career was meteoric and his popularity lasted for over twenty years.
I mentioned at the beginning an "alien civilization" in the sense that seventy years later we watch this movie in awe seeing the complete change in customs and emotional reactions these people have in front of different happenings that nowadays would mean very little or nothing at all to us.
The acting is OK for this type of production, entertaining, fast, dynamic editing, but something that really took my breath away was to notice in the theater scene, where those two are seating and carrying on a dialog while the surrounding crowd remains frozen, like statues, in what nowadays we know as Mannequin Challenge, where you gotta stay still and do nothing. They all held their positions during the whole sequence! When one thinks that they came up with such an aesthetic solution SEVENTY YEARS AGO, one realizes that there is nothing new under the sun.
We must know that Alberto Castillo the man, in real life, became a certified Dr. gynecologist, because his Italian parents (Alberto Salvador De Lucca, his real name) wanted him to have some "real" profession, since they considered tango singing to be a doubtful way of making a living.
But since women started going to see the "gynecologist singer" in droves after seeing him in movies, he decided it was time to close his practice to become only a tango singer, and his legend started.
His parents must have been very surprised when their son became an Argentinian idol for the lower classes, adored by them, making a handful of incredibly popular movies, singing in theaters all over the country and Latin America, making records, etc.
Alberto Castillo died at 87.
I appreciated the previous reviews since I learned, by reading them, some facts I didn't catch when watching this movie, as some of the other viewers experienced too, and that being said by native speakers was a consolation for my feeble knowledge of the English language.
Several times during the viewing I was tempted to look for subtitles, since the background noise was at times quite loud, interfering with the dialogues but I noticed that by doing so my listening becomes lazy and I rely more and more on the written word.
About the movie: I was mesmerized and repelled by the early 1700s London low life, because at least in this film we don't get the slightest relief showing here and there some better society places and better attired people. Of course we are witnessing the rise of a very young and poor prostitute at the time, and the atmosphere couldn't be more depressing.
From beginning to end this movie is REALLY depressing..., I'm tempted to say that if Dorothy Parker were alive today, she could have been the writer of the script. But such masterfully produced work gets my admiration as the only reaction to the enormous effort they all must have endured to produce this jewel.
The top drawer talent displayed on all categories, from set and costume design to flawless acting and hyper realistic period make up goes beyond any expectation.
It's fortunate that nobody has, so far, developed smells as a possibility for the spectator to enter even further in that period, because if they did, watching this movie could have been practically impossible.
It became appalling seeing the living conditions poor women had to suffer during those times and most of all, the prostituted ones (although nowadays, 300 years later, many of them go through similar experiences), but one must admit that society has come a long way since those times.
Excellent movie, but you must really take a deep breath and set your mind accepting the low light for almost all the scenes, the slow pacing, the murmurs that were many of the dialogues and the desperate conditions of those poor people, all of them, women, children and men.
William Hogarth, the guiding figure on this movie, was a superb painter that left us a fantastic legacy with his depiction of his London, fortunately so changed (for the better) nowadays.
Several times during the viewing I was tempted to look for subtitles, since the background noise was at times quite loud, interfering with the dialogues but I noticed that by doing so my listening becomes lazy and I rely more and more on the written word.
About the movie: I was mesmerized and repelled by the early 1700s London low life, because at least in this film we don't get the slightest relief showing here and there some better society places and better attired people. Of course we are witnessing the rise of a very young and poor prostitute at the time, and the atmosphere couldn't be more depressing.
From beginning to end this movie is REALLY depressing..., I'm tempted to say that if Dorothy Parker were alive today, she could have been the writer of the script. But such masterfully produced work gets my admiration as the only reaction to the enormous effort they all must have endured to produce this jewel.
The top drawer talent displayed on all categories, from set and costume design to flawless acting and hyper realistic period make up goes beyond any expectation.
It's fortunate that nobody has, so far, developed smells as a possibility for the spectator to enter even further in that period, because if they did, watching this movie could have been practically impossible.
It became appalling seeing the living conditions poor women had to suffer during those times and most of all, the prostituted ones (although nowadays, 300 years later, many of them go through similar experiences), but one must admit that society has come a long way since those times.
Excellent movie, but you must really take a deep breath and set your mind accepting the low light for almost all the scenes, the slow pacing, the murmurs that were many of the dialogues and the desperate conditions of those poor people, all of them, women, children and men.
William Hogarth, the guiding figure on this movie, was a superb painter that left us a fantastic legacy with his depiction of his London, fortunately so changed (for the better) nowadays.