The project to develop Martínez’s 1990s bestseller for a miniseries (the second, after the initial success of “Perón’s novel”) was by Mariana Pérez and Leonardo Arguibel, executives for the Latin area of The Walt Disney Company, that demanded a decade of preparation and a production that dealt meticulously with the details of the period, costumes and environment, in addition to a rigorous execution in plans and assembly that its filmmakers applied. The series, which consists of seven chapters, also has a modern gender perspective, since although it records the role played by Eva Duarte in the Argentine life of her time, it does so from a contemporary perspective in terms of the achievements of women in the history. As in the novel, it does not leave aside the subsequent use of her embalmed body, later kidnapped by the soldiers of the Liberating Revolution that overthrew Perón in 1955.
“Santa Evita”, co-produced by the Argentine studios Non Stop, had a script by Marcela Guerty and Pamela Rementaria. Variety published a dialogue he had with Maci in Toledo, where the filmmaker says that “Santa Evita” “was a very complex Fox-Disney project” in which “five different time frames were handled: 1945, when the story really begins; 1952, when Eva Perón is embalmed; her youth in the 20s and then in the 30s; and 1971, when the alter ego of Tomás Eloy Martínez, the journalist Mariano Vázquez, tries to find out what happened to her corpse, and begins receiving death threats”.
Maci clarifies that, although the series is deeply Argentine, “we don’t try to inundate it with local details. It speaks to any audience interested in history and the dynamics of power and passion, which makes it universal”. At another point he adds: “Something that really stands out is the fetishism that Eva Perón aroused, which is very contemporary, something that Martínez could not foresee in a novel written in 1995. But the series is open to this interpretation. The novel revolves around power, appropriation and poverty. Eva Perón was of humble origin, but she rose to the height of power and died prematurely, all in the space of seven years. In 1944 she was a fairly anonymous actress. In 1947 she visited Spain invited by Franco and was a legend in Buenos Aires. In 1951, she had terminal cancer. Everything happened very fast. It is an extraordinary story that deserves to be told, with the caveat that it is based on a novel. Some elements are fiction, thought up by Martínez”.
Source: Ambito
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