But his thing was not always stand up, since in his beginnings he did everything.
In his heartfelt evocation yesterday on social networks, his friend Oscar Barney Finn wrote: “I met you at the beginning of the 60s at the New Theater, while you were writing your first children’s plays, wasting inventiveness and talent. Without a doubt, those beginnings of the 60s where, under the tutelage of Alejandra Boero and Pedro Asquini, you advanced towards the place that the future had reserved for you. We talked a lot about theater but more about cinema and each talk was a challenge to memory. As expected, the media with their reviews and obituaries will talk about achievements and triumphs that built a path of success, but in those days you were a passionate theater worker who began to take advantage of each role that fell into your hands, like the from ‘The Bedbug’ by Vladimir Mayakovsky”.
Pinti was, above all, a man of the theater. In his stage of greatest fame, the cinema summoned him for several films, always in characteristic supporting roles (the best was “Sentimental” by Sergio Renán, from 1981, although the public remembers him more for the alcoholic he did in “Waiting for the float”, by Alejandro Doria (1985) With Víctor Laplace and Federico Luppi he participated in “Flop”, by Eduardo Mignona, a biography of Florencio Parravicini (1990) and with Ricardo Darín he appeared in the police “Perdido por Perdido” (1993), by Alberto Lecchi As a young man, he had starred in the film “El kidnapper” (1958), by Leopoldo Torre Nilsson, starring Leonardo Favio, and from 1969 he began writing hits of the time such as “La Botica del Ángel”, by Eduardo Bergara Leumann, “Casino” and “La luna de Canela.” He was also a comic strip writer for the Atlántida publishing house, where he wrote “The Watchmaker Monkey” for Billiken, with drawings by Branca based on the famous book by Constancio C. Vigil.
His arrival at the café concert took place in 1973, the year in which the genre flourished, with “Historiascollected” at the Teatro Latino de San Telmo, which he repeated during the years that censorship allowed him to do so. In 1976, she performed at El Maipo de gala directed by Gerardo Sofovich, with Osvaldo Pacheco, Carmen Barbieri and others. “Bread and Circus”, directed by Gasalla, dates from 1982, the Malvinas years, where among other characters he parodied Queen Elizabeth. On the radio he was a columnist for numerous programs, but television was never friendly to him. His show “Pinti and the Penguins” did not last long on the air. Special mention deserves his performance in some musicals (of which, for the most part, he was also an adapter) such as “Hairspray”, “The Producers”, “Anything Goes” and “Young Frankenstein”, with Guillermo Francella. He also recorded the CD “Radio Pinti” (1991) together with Charly García and Pedro Aznar.
His kingdom, as has been said, was above all things stand up with musical numbers, which was evidenced by the decade in which “Salsa Criolla”, with its successive political updates, was on the bill, and which he took on a tour of numerous countries. from Latin America. There were others like “Pericón.com.ar”, “Candombe nacional” and “Pingo Argentino”, where he once again turned the stage into a public platform where he attacked the vices, “sins” and clumsiness of the Argentines. There, pointer in hand, he “analyzed” the brain of the Argentines, and abhorred some ingrained and dangerous customs, such as bachelor parties or football fanaticism. Three years ago he premiered “Al fondo a la right” the last solo show, but his health no longer allowed him to continue.
Source: Ambito
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