Isabel Sarli He kicked out the kids who came into the laboratory to spy on his films, Tita Merello she scared away the people who were looking at her with insults, the cigarette factory where it was filmed 1 It was that of Nobleza, then Nobleza Picardo and today the Faculty of Philosophy and Letters of the UBA, where smoking is frowned upon. Curiosities and ironies like this season the documentary Pablo Torre “My father and I”evocation of Leopoldo Torre Nilsson which also includes other oddities.
For example, that the circumspect Argentine director, with notable myopia, was a jury in Venice in 1961 alongside the creator of “Mr. Magoo”, the ineffable John Hubley. Or, even more curious, that in a hotel in New York Nilsson Tower He thought the elevator operator was wearing a wig, and it turned out to be Ringo Starr, who entertained himself by going up and down while waiting for his companions. At least, that’s how he told his children when they were children.
Now in May, the author of “The hand in the trap” I would have been 100 years old. He lived only 54, and in that short time he made 28 features, a medium-length film, three shorts, a series, he co-directed other features with his father, he directed theater, some advertising, he wrote, he was discussed, vilified and admired, he suffered misunderstandings and censorship, he produced risky works by young filmmakers, won and lost fortunes, won and lost awards at festivals, paved the way for the next generations.
His youngest son now dedicates to him a brief biographical review, illustrated by a talk by Torre Nilsson himself with Soler Serrano for the Spanish program “A Fondo”brief anecdotes of Graciela Borges and Norma Aleandroand fragments of various films (“The Crime of Oribe”, “The House of the Angel”, “The Kidnapper”, “End of the Party”, “Summer Skin”, “The Terrace”the ones he made in Puerto Rico, the commercial ones, and others, not all, but all in good copy).
It is a necessarily incomplete review, where several titles are missing, hardly any mention is made of Javierthe other son, and the personal questions remain unanswered: “Did I really know him?” Pablo repeats in a dull voice.before the memory of a “unsociable, dark” and at the same time “worldly, seductive” man. Beatriz Guido, on the other hand, was simply “exaggerated, complacent, fanciful.” And also, in the absence of further mentions or the count of few tributes, the other question: “Does forgetting work like that?”
“My father and I” (Argentina, 2024); Dir.: Pablo Torre; documentary.
“Love and cinema”
“Film made with warmth, affection and pride, caressing the emotional memory of the public”we said when “Love and cinema” It was presented, out of competition, last November in Mar del Plata, winning the hearts of the spectators. It was logical that it premiered in La Feliz, because its protagonists are already a very beloved part of that city. And it is natural that it will now premiere at the Gaumont, because its audience is precisely the one that fills that complex almost daily, looking for some good national cinema at reduced prices.
This is a documentary Victoria Carreras about the career of his parents: the remembered Enrique Carrerasprolific director of popular films, theater and musical shows, and Mercedes Racing (both in the photo), actress, muse, advisor and support for her husband throughout intense years. Few know it, but before the Film Law existed, every time Careers He wanted to make a film, he mortgaged his house, so much was the passion he had, and so much was his enthusiasm and his trust in the public.
And he made almost a hundred films, most of them musical and/or sentimental comedies, but also fantastic films, parodies, recreations and some so-called testimonial dramas, inspired by events of the moment, such as “The Escapees”, and one that defined the genre in Argentina: “Masterpieces of horror”with the acting, the hand and the voice of Narciso Ibáñez Menta.
Victorywhich already made the unique and emotional “Merello x Carreras” (the friendship of the old actress with the family) and “Daughters of comedy” (she, her sisters and her mother, and the pleasure and anxiety of stepping on stage), now tells, with filial enthusiasm, the beginnings of her father and her uncles in the cinema, the appearance of a little girl with the same last name but no kinship, marriage, and from there the simultaneous creation of a home and a lot of films, in addition to dozens of summer seasons always packed with artists and spectators.
Anecdotes, images from various archives and a succession of beloved figures abound, many of whom have accompanied the public throughout their lives. From 1951 to 1991 Careers father worked with almost all the comedians and singers in the country, and with a few dramatic actors, from the brothers Andreu, Alfredo Barbieri, Amelita Vargas (well, there was more than a professional relationship there), Juan Carlos Thorry, Analía Gadé, Battaglia, Adrianita, Lola Membrives, Palito Ortega and Luis Sandrini onwards. And his daughters, of course, who remember him here. Nice evocation, which leaves good memories even in those who, with a superior air, always disdained popular cinema.
Love and cinema” (Argentina, 2023); Dir.: Victoria Carreras; documentary film.
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.
