BEATRIZ GUIDO-OBRA-CRUCES – TELAM Agency
Beatriz Guido decided to occupy the public scene bluntly: she defined herself as an anti-Peronist, she took charge of a critique of her work by the essayist and politician Arturo Jauretche, who defined her as “a ‘middling’ writer for ‘middling’ readers. pelo'”, especially after reading his novel “El incendio y las vesperas”, which integrates the trilogy known as the national saga with “End of party” and “Scandals and solitudes”.
“In addition to his storytelling and his intense participation in the world of cinema through the scripts later filmed by Leopoldo Torre Nilsson – ‘La casa del ángel’, ‘La casa’, ‘Fin de fiesta’, ‘El kidnapper’, ‘La mano en la trapa’ and ‘La terraza’-, Guido built an irreverent public image in which he showed himself as a frivolous snob, amused by his own political contradictions, with provocative and always surprising interventions.Anti-Peronist in the fifties, A leftist in the 1960s and an Alfonsinist in the 1980s, she was appointed cultural attaché to the Argentine embassy in Spain in 1984. In December 1987, she visited Buenos Aires for the last time to present her novel ‘Rojo sobre rojo’, and died in Madrid on March 4, 1988”, recalls Sylvia Saítta in dialogue with Télam.
Meanwhile, Diego Sabanés says that “the enormous visibility Beatriz had in the 1960s was a double-edged sword” and explains that, on the one hand, “the confluence of international recognition of the films she wrote with Torre Nilsson ( ‘La casa del ángel’, which even had a ballet adaptation premiered in London, the Cannes award for ‘The Hand in the Trap’, a retrospective at MoMA with seven of the films they had made together, to mention a few milestones ) with the editorial success of those novels where she rereads episodes of national history (especially ‘Fin de Fiesta’ and ‘El incendio y las vespers’, which were best sellers at the time of their appearance)” placed her “in a place that no other female writer of her generation had.
“That exhibition favored the circulation of her books and catapulted her into a media territory very typical of those years (interviews, participation in cultural events of all kinds, even the invitation to Mirtha Legrand’s first lunch). But it also generated disdain for her, criticism and even ridicule from certain sectors that saw in this over-exposure a frivolous attitude, which emptied his work of content”, he indicates.
“It is enough to remember the famous chapter that Jauretche dedicates to her in his book on the Argentine medium hair. Perhaps one might wonder, from a contemporary perspective, if Beatriz Guido – a public figure did not eclipse Beatriz Guido – writer… The truth is that At the beginning of the 1970s, Guido began to lose his media presence and his work also seemed to lose its way a bit.Trying to keep up to date, he left behind the style he had been developing but was unable to shape a new style with the same effectiveness,” explains Sabanés.
His public figure was established between cinema and literature. On how this bifurcation influenced her writing, Alejandra Laera analyzes that “it is true that this same feedback between cinema and literature made, and often makes, people confused if the story of Albertina that we remember is that of ‘The Fall of the novel’, by Beatriz Guido, or the one in Torre Nilsson’s film. But it is also true that this same creative feedback made us, in effect, remember that character, with a face and defined features, forever, something that happens with few literary characters”.
“The fact that Elsa Daniel was the protagonist of three of those stories, of the first stage of the collaboration of the couple formed by Beatriz Guido and Torre Nilsson, has a paradoxical effect: on the one hand, the three protagonists (of ‘La angel’s house’, ‘The fall’ and ‘The hand in the trap’) have the same face, that is, the individualization is diffuse, but on the other hand, that gives the girl created by Beatriz Guido recognition, a identification, which exceeds the individual and is of social scope. As for the creative feedback, precisely, it was such that it stopped mattering which one wrote first, if the novels or stories, or the scripts…”, concludes Laera.
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
