1329:"A sometimes conventional story in its structure, but dynamic, full of action and adventure (a European critic referred to it as a "gaucho western") full of an epic feel. Its undoubtable sincerity and vibrance even today it reaches the Argentine spectator. If its objective effect (once the patriotic emotion is removed) is less convincing, it is due, perhaps, to its theme elements and film expression did not go deep on the historic essence of the event; preferring instead to show the classic epic elements: true heroes, pure sentiments, valor and sacrifice, in a somewhat elementary form; the film loses sight of the authentic sense, inexorable and terrible of the total movement of a people that fight for their freedom. The anecdote, the heroic vignette, of easy patriotic feel replaces the broad lines of a vision that could transcend in this epic story to a universal communication. The gaucho war can now be elementary and almost school-like, naïve and expressively elementary. Though, its basic insufficiencies of form and concept notwithstanding, it has an authentic charm, fruit of its sincerity and vigor."
1098:"The civil war -and its set backs- put an end to the work Demare had in the Spanish theater. But he learned his job. Demare boasts about learning all the jobs on the film making world, that he started learning in Orphea Films, of Barcelona. From sweaping the floor to chalkboard holder, the way he progressed, all the way to director, the entire journey was traveled step by step... He is self-taught. That implied he had to start his theater career with a wall in front of him: the unknown. Which he overcame it through long and hard phases. Readings and learning techniques “stolen” on the set, with no guide other than his eagerness."
1122:(1941) all of them with their own script. This movie was well received by the public and critics, “It consolidated the exceptional tech team accompanied by Artistas Argentinos Asociados: his brother Lucio on the music band, the assistant Hugo Fregones, the montajussta Carlos Rinaldi, the set builder Ralph Pappier, the lighting specialist from the United States Bob Roberts (from the American Society of Cinematographers), the cinematographer Humberto Peruzzi, the electrician Serafín de la Iglesia, the make up artist Roberto Combi and some others.” The following movie was
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1337:"Justly the character of this popular epic that Lugones vindicated when he said "the gaucho war was in reality anonymous as all national resistance movements are" is proof that the screenplay writers could collect an underground force that would soon result in decisive history events: the anonymous gauchos, the military man that deserts the Spanish troops to join the creole rebels, or the gaucho priest, make a synthesis of the people, army and religion that would be present in the revolution of 1943."
1308:"By the magnitude of the enterprise, the reality and the imagination; the dignity of the way it presents our war and for the patriotic exultation that it shows; for the vigor and interest, because they were able to show in their images of "the blood of the land" it can be said that the gaucho war accomplishes, as a high expression of our cinema, the transcendence of the fight that it evokes and the beauty of the admirable book that was its inspiration.
650:, to visit the actual places where the events happened and to record the oral tradition of the area. It is an epic story composed of several histories described with a wide vocabulary full of metaphors. Dialogs are short, but descriptions and subjective vision are plentiful. The landscape characteristics and Salta's nature are described in detail and have great importance in the book.
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1289:"A strong story, in which combat action is combined with general combat scenes, with a level of sophistication never before reached in our cinema, with local northern flavor, with remarkable authenticity. It can stand next to epic foreign productions for its excellent technique, the beauty and majesty of the sceneries and the excellent acting."
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its discussions suggested “reconquer the political Sunday from our own land” since it considered the country was still under a colonial situation. It supported neutrality in WWII on the premise that was no great interest was in play in
Argentina or Latin America, it was more of a rejection position towards fascism just as much as communism.
1154:"Then I asked the team, Muiño, Petrone, if they'd allow me to read the book to them. We gathered governor Aráoz, the chief of police, and local citizens and politicians for a reading. I put so much enthusiasm in it, that at the end, all of Salta was eager to help. Afterwards Lanús even have us an army fencing teacher to train the actors."
350:(Associated Argentine Artists), a cooperative of artists created just a short time before production began. It required an investment far beyond other productions of the period but the commercial success of the film allowed it to recover the cost in the first-run theaters, where it remained for nineteen weeks.
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The filming included more than 1,000 actors as extras for the crowd scenes, although only eighty actors had speaking parts. Among the extras there were local gauchos hired by the producers and others provided as laborers by their employer, the Patrón Costa, a wealthy local family. There were also the
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A scene where a group of horses ran down a hill with burning branches tied to their tails needed to be filmed from in front, so the crew built a hut made of wood, stones, and rocks in which stood
Peruzzi the cameraman, who tells that "At the order of Action! I saw this mass of heads and hooves coming
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but they were told that it was better to do it in winter due to summer being flood season. Demare travelled to Salta to reconnoiter the area. Later, the crew and equipment moved to an old estate and big house. They worked on a big ballroom and had two small rooms; each crewman had a cot and an upside
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Meanwhile, Elías Alippi, who would star in the role of captain Del Carril, fell ill with cancer (he would die on May 3, 1942). The company, knowing he was not in physical condition to survive the tough filming schedule and not wishing to replace him for another actor while he was alive, postponed the
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during the war. The film stresses the values associated with nationalism as expressed in the union of the people, the army, and the church in defense of the country, which was considered by some a prelude to the revolutionary ideology that led to, on June 4, 1943, the overthrowing of the government
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In 1935 he participated on the beginnings of FORJA (Fuerza de
Orientación Radical de la Joven Argentina – Force of Radical Orientation of the Young Argentina), a group whose position has been classified as “peoples nationalism”. It was centered in the problematic Argentina and Latin America and on
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the partners at
Artistas Argentinos Asociados decided to fund the film with their own fees. This financial effort was insufficient and they had to partner with San Miguel Studios and undersell the exhibition rights for the movie earlier in some areas. These decisions allowed them to make the film
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of a chapel located next to the grounds of the royalist troops. The sacristan fakes loyalty to the
Spanish king, but in the midst of the battles he sends messages to the gaucho guerrillas hiding in the mountains by means of a messenger boy and by the ringing of a bell. When the royalists discover
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In another scene where the characters played by Amelia Bence, Petrone and Magaña argue, the latter was supposed to fall down the stairs but doubted his ability to do so. Demare stood at the top of the stairs with his back to it and rolled down, to demonstrate that the scene could be done without
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Lucas Demare shows up in the film as an extra a few times. The scene in which the town burns had to be done in one take as they could not afford to rebuild it. Demare had the cameramen and the rest of the crew dressed as gauchos or royalist troops so that if they were accidentally included, they
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Demare had brought gaucho clothing for the cast, but he realized they were not appropriate for the feel he wanted in the movie as they were brand-new, so he traded the new clothing for local gauchos' own clothing. Demare sent Magaña and Chiola on long horse rides to "weather" their uniforms and
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and some from other stories. They compiled the words, traditions, life styles and idioms from that era for which they used books and even a trip was made to Salta to talk with the locals. A script Then a text was made from the tales and a first draft of the images. At this point the director and
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After the battle, the only four survivors are the dying sacristan, an old man, a young boy, and
Lieutenant Villarreal, who has fallen in love with Asunción and converted to the patriot cause. Though the group seems doomed, they suddenly see Güemes' arriving troops, which will continue the battle
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They brought material from Salta in fifty trucks to build a village. It had an area of about a thousand square meters, fifteen houses, a church with a belfry, hospital, horse barn, corrals, commander's office, cemetery, and ovens, all of which was destroyed by the fire in the final scenes. The
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is a classic epic in our cinematography. The stories of
Leopoldo Lugones transferred to the silver screen in loose but vigorous images, within a spectacular frame un marco and recognizably national, along with a very interesting story, gave the film a quality seal that your screen
896:"I still think there was nothing movie-like in that book. Lugones was a formidable poet, but he was not conducive to the narrative. Manzi, with the strategic efforts of Petrone acted as if every issue was already resolved, by having myself fixed three short stories by Quiroga for
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as the U.S. wished other
American nations to break relations with the Axis powers. Argentina, which had had frictions with the U.S. in previous years, was opposed to said goals and influenced successfully to "recommend" the breakup of relations instead of making it mandatory.
634:"His verbal inventiveness was tremendous and he went through all the literary schools; as his mind was impressionable and he went through all the political parties. The variety of his themes, genres, and styles, in verse and in prose, is the most evident characteristic of his
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686:, first in provisionally and after June 27, 1942 permanently. The new president was not in agreement with Ortiz's policies and from his post he condoned the fraud practices, disappointing the followers who believed in the changes proposed by his predecessor.
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For the scenes in the local village where the royalists had established their headquarters, they selected the village of San
Fernando. Nearby is the Gallinato Creek, where they filmed the gaucho encampment scenes and the assault against Miranda's woman.
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The interior and exterior scens of the Asunción ranch, the royalist encampment at night, the interior of the church and belfry, the death of the child and the musical number by the Ábalos
Brothers group were filmed at the studios in Buenos Aires.
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in Salta were paid between 3 and 4 pesos per workday, when a theater seat cost 3 pesos. Amelia Bence was paid 5,000 pesos for about six days of filming. This was completely recouped in the nineteen weeks the film stayed at the opening theaters.
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Demare quit the orchestra and started working in the film industry; he quickly rose from chalkboard holder to director assistant. Some time later he was hired to debut as a director, but the civil war broke out and he returned to Buenos Aires.
1255:, a composer and brother of director Lucas Demare. Born in Buenos Aires on 9 August 1906, Lucio studied music from the age of six and from the age of eight he was playing piano in movie theatres –it was still the age of silent movies.
900:("Prisoners"). But, how to appease the great Lugones, against whom we battled some time ago, for his emphasis in the poetic orthodoxy of the rhyme, in the meter with which he always impressed us, beginning with the reading of his memorable
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Born July 14, 1907 Demare was a music scholar. In 1928, he traveled to Spain as a bandoneón player for the Orchestra Típica Argentina, where his brother Lucio also played. In 1933 he worked as an interpreter and singer for Spanish movies
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by that time. Nonetheless, due to the producer partners' lack of business experience and their scant resources put into starting the business, critical and public acclaim did not translate into big earnings.
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The film begins with a prologue on screen providing the historical circumstances of the place and time in which the action is placed, and advancing the position of its authors. From 1814 to 1818, General
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at me at full speed, and did not breath until I saw them open up to the sides of the hut, right in front of me. We had to improvise and replace the lack of technology with smarts, ingenuity and valor."
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this, they attack and burn the chapel and smash the sacristan's eyes. Blinded, the sacristan unwittingly guides the royalists to the patriot camp. The royalists then proceed to annihilate the gauchos.
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At their arrival in Salta, they met with the local military commander, Colonel Lanús, but he was not eager to help, instead placing obstacles in their way. Demare told how they solved the problem:
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party, he expressed his intention of ending the systemic electoral fraud imposed since the 1930 military coup. This idea found resistance within the political coalition named "The Concordance" (
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Ulyses Petit de Murat was born in Buenos Aires on January 28, 1907 and was interested in literature and journalism from a young age. He was in charge of the music page in the daily magazine
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The origins and content of the film are linked to a particular moment in Argentine history in which there was an intense debate over whether the country should take the side of either the
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First prize for Best Picture, Best Director, Best Screenplay, Best Lead Actress (Amelia Bence), Best Actor (Francisco Petrone), Best Photography, Best Music and Best Sound Editing, from
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When he returned to Spain, his brother Lucio got him a job as custodian in the Rio de la Plata cinematographic studios. In 1937, he was hired as director and screenwriter for the movies
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The Condor Diploma for Best Picture, Best Director, Best Screenplay (Petit de Murat and Manzi), Main Actor (Francisco Petrone), Best Sound Editing and Best Cinematography, from the
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The problems associated with foreign policy took on more importance in Argentina and revived the conflict between the three political factions, the one pushing for siding with the
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would not ruin the shot. While directing this scene, a sudden wind change moved the fire towards Demare himself making him lose his wig and singeing his fake beard and mustache.
871:. The rights for the movie were purchased from Leopoldo "Polo" Lugones (son of the writer) for 10,000 pesos received two jazz records that were unavailable in the country.
467:. The commander of a Spanish army contingent, Lieutenant Villarreal, is wounded, captured by the guerrillas, and put under the medical care of Asunción, the mistress of an
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director requested five hundred horses, four hundred cattle, oxen, mules, burros and chickens. Also many props such as wheelbarrows, wagons, and period-military equipment.
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In Spain in 1933, Demare created the music for two movies in which he also acted. He started his work in Argentine cinema in 1936 with the musical score for the film
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422:"The thickness of the bushes gave cover to hundreds of partisans. The war of resources opened up like a mortal fan over the fields. Dented sables, clubs lances and
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1227:. To recoup this, they had to undersell the exhibition rights in advance in some areas. Spending as little as possible, the production ended up costing 269,000
430:. Neither hunger nor misery stopped these primitive hordes. To them, to the ones that died far from the pages of history we'd like to remember in these images"
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In another scene, Demare played the part of a Spanish soldier who, being attacked by the gauchos, receives a lance hit through the chest. Magaña tells
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and some officers of the army. The subject of the position the country should take on the war displaced other issues in the national political arena.
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players from Buenos Aires, experts falling from horses. As the gauchos did not want to be dressed as Spaniards, military conscripts played the part.
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the favorable currents for the State to become interventionist were growing, in order to push the preservation on the national interests and promote
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867:("North Wind") and convinced director Lucas Demare of the project's viability. Francisco Petrone proposed that the script be written by Manzi and
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and the chief of production of a movie company Enrique Faustín (son) met regularly at the beginning of the 1940s at the "El Ateneo" cafe in
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movements designed by Güemes and constant small battles characterized by the heroism of the irregular patriot forces commanded by Güemes.
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in 1977 and 1984, while it ranked 7th in the 2000 edition. In a new version of the survey organized in 2022 by the specialized magazines
972:("Microphone") magazine which covered subjects related to radiotelephony, Argentine movies and film making. He wrote the screenplay for
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on November 20, 1942 and is considered by critics of Argentine cinema to be one of the most successful films in history. It won three
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Emilio Zolezzi, aside from being a movie critic, was also the Artistas Argentinas Associados attorney. He tells about the director:
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The Silver Condor for Best Picture, Best Director (L. Demare), and Best Screenplay (Ulyses Petit de Murat y Homero Manzi) from the
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was then selected as the subject, written and filmed in the context of expansive nationalism and debates over issues of war.
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The film stayed on the opening theaters for nineteen weeks where it was seen by 170,000 viewers, including four weeks in
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supported the decision as it was interested in Argentina being neutral and continuing the supply of food during the war.
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the Argentine government declared itself neutral (on September 4, 1939), repeating the position taken during the
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In 1940 Manzi started what would be a long collaboration with Ulyses Petit de Murat, writing the screenplay for
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accustom the actors to riding. The locals were surprised to encounter two soldiers in antiquated uniforms.
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The screenwriters started by selecting the stories that would provide them with the elements for the work.
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down beer wooden box as night-stand. The actresses and Enrique Muiño, due to his age, stayed in a hotel.
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1262:("The Village Now Has a Constable"), directed by Claudio Martínez Payva, and in 1938, he continued with
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Artistas Argentinos Asociados had the idea of making this movie since the company had been established.
475:. She persuades him in understanding the importance and true justice of liberating America from Spain's
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Lucas Demare thought that January and February (summer) were the best months to work on the filming in
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This ideological change was also observable in the cultural movements, with the vindication of the
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The musical numbers and native dances were choreographed and played by the Ábalos Brothers group.
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was well received by the critics and the public and received several awards. The article in the
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1110:(Twenty-four hours of liberty), both starring comedy actor Pepe Iglesias. In 1939, he directed
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Filming delays meant that the producers spent part of the monies they had earned on the film
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from so many hits, and he still ordered: "Again! Again!. I thought they would kill him...".
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626:(June 13, 1874 – February 18, 1938) was a prolific Argentine writer and journalist of whom
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I threw the lance from above the camera; and hit him full on the chest. I made him such a
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debuted. In 1939, the number increased to 51 films. Argentine cinema was very popular. In
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984:("Confession") (1940), without achieving commercial success with any of these movies.
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2344:(Jorge Miguel Couselo, director), 1984, Buenos Aires, Centro Editor de América Latina
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aforementioned fencing trainer and soldiers lent by the military garrison and two
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actors collaborated with their comments and finally the final script was written.
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since the withdrawal of the country's regular troops. This conflict consisted in
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1551:, 4* edición, t. VIII pág. 638, Buenos Aires, 1957, Editorial Guillermo Kraft.
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Remembering the proposal to write the screenplay, Ulyses Petit de Murat said:
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págs. 21 y 24, 1966, Buenos Aires, Editorial Universitaria de Buenos Aires
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professor but for political reasons (in addition to his membership in the
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pág. 174, 1988, Buenos Aires, Editorial Universitaria de Buenos Aires,
2360:, pág. 30, 1966, Buenos Aires, Editorial Universitaria de Buenos Aires
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pág. 11, 1988, Buenos Aires, Editorial Universitaria de Buenos Aires,
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1634:¿Aliados o neutrales? La Argentina frente a la Segunda Guerra Mundial
1611:¿Aliados o neutrales? La Argentina frente a la Segunda Guerra Mundial
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Homero Manzi was born November first of 1907 in Añatuya (province of
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pág. 30, 1966, Buenos Aires, Editorial Universitaria de Buenos Aires
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and in 1939 wrote his first cinematographic script for the movie
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due to the war. In 1941, there were 47 openings and in 1942, 57.
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in 1937 in collaboration with Hugo Mac Dougall, and a remake of
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1526:(in Spanish). Encuesta de cine argentino 2022. 11 November 2022
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was chosen as the main source, some characters were taken from
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The opinion of film critic José Agustín Mahieu is as follows:
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undue risk. This was in fact the sequence shown in the movie.
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forced him to relinquish the presidency to his vice president
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pág. 258 y 269, 1987, Buenos Aires. Editorial Sudamericana,
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that he required medical attention. He had big beruises and
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1464:(in Spanish). Centro Editor de América Latina. p. 60.
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with "a little less belt-tightening but without splurging".
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Starting in the 1930s, and following a general tendency in
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to the use of content and images and published them under
1486:"Las 100 mejores del periodo 1933-1999 del Cine Argentino"
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for the best films and performances of the previous year.
2263:, pág. 142, 1998, Buenos Aires, Ediciones del Jilguero,
1830:, pág.119, 2006, Buenos Aires, Ediciones Lumiere S.A.,
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Movimiento obrero, nacionalismo y política en Argentina
530:(Francisco Antonio Petrecca Mesulla) as Capitán Miranda
284:(Ulises Petit de Murat and Homero Manzi), given by the
2376:, 2002, Buenos Aires pág. 49, Ediciones del Jilguero,
2317:, pág.86, 2006, Buenos Aires, Ediciones Lumiere S.A.,
2240:, pág.71, 2006, Buenos Aires, Ediciones Lumiere S.A.,
2217:, 2002, Buenos Aires pág. 53, Ediciones del Jilguero,
2194:, 2002, Buenos Aires pág. 57, Ediciones del Jilguero,
2148:, 2002, Buenos Aires pág. 62, Ediciones del Jilguero,
2125:, 2002, Buenos Aires pág. 61, Ediciones del Jilguero,
2075:, 2002, Buenos Aires pág. 51, Ediciones del Jilguero,
2022:, 2002, Buenos Aires pág. 30, Ediciones del Jilguero,
1994:, pág.84, 2006, Buenos Aires, Ediciones Lumiere S.A.,
1971:, 2002, Buenos Aires pág. 29, Ediciones del Jilguero,
1879:, pág.70, 2006, Buenos Aires, Ediciones Lumiere S.A.,
1856:, 2002, Buenos Aires pág. 35, Ediciones del Jilguero,
1807:, 2002, Buenos Aires pág. 31, Ediciones del Jilguero,
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pág. 312, 1998, Buenos Aires, Ediciones del Jilguero,
1685:
pág. 222, 1987, Buenos Aires, Editorial Sudamericana,
1412:
pág. 392, 1998, Buenos Aires, Ediciones del Jilguero,
2286:, cit. por Manrupe, Raúl y Portela, María Alejandra,
2052:(Sergio Renán, sel.), 1996, Buenos Aires, Alfaguara,
1948:
pág. 205, 2001, Buenos Aires, Javier Vergara editor,
1925:
pág. 198, 2001, Buenos Aires, Javier Vergara editor,
1387:
Asociación de Cronistas Cinematográficos de La Habana
1373:
Best Screenplay (Petit de Murat and Manzi), from the
1369:
Argentine Academy of Cinematography Arts and Sciences
678:) to which he belonged. Finally the worsening of his
403:
that systematically ransacked the country, attacking
2290:
pág. 261, 2001, Buenos Aires, Editorial Corregidor,
1734:
El ejército y la política en la Argentina; 1928-1945
863:had the idea since he wrote the script to the film
191:
181:
171:
148:
134:
124:
116:
88:
66:
56:
39:
1385:Best Foreign film in Cuba shown in 1947, from the
908:Due to having had spent all the budget needed for
878:Ulyses Petit de Murat, Lucas Demare y Homero Manzi
1270:, and also directed by his brother Lucas Demare.
2374:Artistas Argentinos Asociados. La epopeya trunca
2215:Artistas Argentinos Asociados. La epopeya trunca
2192:Artistas Argentinos Asociados. La epopeya trunca
2146:Artistas Argentinos Asociados. La epopeya trunca
2123:Artistas Argentinos Asociados. La epopeya trunca
2073:Artistas Argentinos Asociados. La epopeya trunca
2020:Artistas Argentinos Asociados. La epopeya trunca
2011:
2009:
2007:
1969:Artistas Argentinos Asociados. La epopeya trunca
1854:Artistas Argentinos Asociados. La epopeya trunca
1845:
1843:
1805:Artistas Argentinos Asociados. La epopeya trunca
2178:, Buenos Aires, 19 de noviembre de 1942, n* 237
1508:– via Encuesta de cine argentino 2022 on
1335:
1327:
1314:
1306:
1287:
1168:
1152:
1096:
1028:In 1932 he moved to the motion film section of
894:
670:became president of Argentina. A member of the
632:
420:
2288:Un diccionario de films argentinos (1930-1995)
2261:La época de oro. Historia del cine argentino I
1766:La época de oro. Historia del cine argentino I
1662:pág. 264, 2004, Buenos Aires, Ariel Historia,
1651:
1649:
1590:pág. 261, 2004, Buenos Aires, Ariel Historia,
1567:pág. 236, 2004, Buenos Aires, Ariel Historia,
1410:La época de oro. Historia del cine argentino I
290:1943 Argentine Film Critics Association Awards
3438:Works about the Argentine War of Independence
2815:
2450:
1453:
1451:
8:
2037:
2035:
889:("Old Man Hucha"), in which he had no role.
991:("Finger on the trigger") (1940) and later
883:filming with an excuse and started to film
2822:
2808:
2800:
2457:
2443:
2435:
2163:
2161:
1944:Guillermo Corti, cit. por Salas, Horacio,
1381:Municipalidad de la Ciudad de Buenos Aires
1044:, with the collaboration of Homero Manzi.
662:Francisco Petrone in a scene from the film
303:. It is based on the actions taken by the
45:
36:
3433:Silver Condor Award for Best Film winners
482:The patriot forces receive help from the
375:Mar del Plata International Film Festival
355:third greatest Argentine film of all time
264:published in 1905. The film premiered in
2420:This article incorporates material from
2090:
2088:
1736:, 1981, Buenos Aires, Ed. Sudamericana.
1708:, 1985, Buenos Aires, Ed. Hyspamérica,
1398:
778:State of the film industry in Argentina
3483:Argentine films based on actual events
2105:, Buenos Aires, 10 de agosto de 1980,
1017:, co-directed its literary supplement.
3035:El romance del Aniceto y la Francisca
1720:, 1976, Buenos Aires, Ed. La Bastilla
1432:(in Spanish). Cine.ar. Archived from
672:Unión Cívica Radical Antipersonalista
7:
782:In 1938, 41 films opened and 16 new
751:organized under the umbrella of the
377:, the film reached the 49 position.
3373:El patrón: radiografía de un crimen
1549:Historia de la literatura argentina
1266:("Two Friends and One Love"), with
30:For the book of the same name, see
1660:La república imposible (1930-1945)
1588:La república imposible (1930-1945)
1565:La república imposible (1930-1945)
1494:Museo del Cine Pablo Ducrós Hicken
1363:Argentine Film Critics Association
359:Museo del Cine Pablo Ducrós Hicken
299:of northwest Argentina during the
286:Argentine Film Critics Association
25:
2831:Silver Condor Award for Best Film
2358:Breve historia del cine argentino
1789:Breve historia del cine argentino
1750:Breve historia del cine argentino
1718:Del fraude a la soberanía popular
1114:(1940, Son of the neighborhood),
1036:, an adaptation of four tales of
753:Confederación General del Trabajo
307:under the command of the general
3443:Argentine historical drama films
2099:Lucas Demare: mi vida en el cine
1458:Oliveri, Ricardo García (1994).
1333:Lastly, César Maranghello says:
248:. The film's script, written by
3448:Argentine black-and-white films
2315:Noticias del viejo cine criollo
2238:Noticias del viejo cine criollo
2172:Un anticipo de La guerra gaucha
1992:Noticias del viejo cine criollo
1877:Noticias del viejo cine criollo
1828:Noticias del viejo cine criollo
1357:received the following awards:
1215:Sebastián Chiola y Amelia Bence
1106:(Two friends and one love) and
816:A group of unemployed artists,
654:Historical context in Argentina
295:The film is set in 1817 in the
3453:Films directed by Lucas Demare
3175:Últimas imágenes del naufragio
2046:Cómo se filmó La guerra gaucha
1108:Veinticuatro horas de libertad
357:in the polls conducted by the
1:
3095:Las Venganzas de Beto Sánchez
2338:El cine sonoro y su expansión
812:Artistas Argentinos Asociados
806:Artistas Argentinos Asociados
348:Artistas Argentinos Asociados
301:Argentine War of Independence
139:Artistas Argentinos Asociados
3473:1940s historical drama films
3463:1940s Spanish-language films
2313:, cit. por Zolezzi, Emilio,
1496:: 6–14. 2000. Archived from
1430:"Los ganadores, año por año"
1375:Comisión Nacional de Cultura
1260:Ya tiene comisario el pueblo
1251:The music score was done by
745:Socialist Party of Argentina
491:against the invader troops.
455:forces commanded by General
3237:Pizza, Beer, and Cigarettes
3143:Tangos, the Exile of Gardel
2342:Historia del cine argentino
157:November 20, 1942
3529:
3027:Arm in Arm Down the Street
2284:El Heraldo de Buenos Aires
1283:El Heraldo de Buenos Aires
1118:(1940, Turkish Heart) and
1063:
1002:
934:
809:
29:
3513:Guerrilla warfare in film
3498:Argentine war drama films
2837:
2747:Rutas para la Mesopotamia
2731:Sentencia para un traidor
2473:
1247:Soundtrack and Film Score
1042:Con el Dedo en el Gatillo
989:Con el dedo en el gatillo
407:from the Spanish base in
346:The film was produced by
44:
3325:The Secret in Their Eyes
3019:Chronicle of a Boy Alone
2739:La Cigarra está que arde
2692:Plaza Huincul (Pozo Uno)
2581:La Culpa la tuvo el otro
1946:Homero Manzi y su tiempo
1923:Homero Manzi y su tiempo
1900:Nacionalismo y peronismo
1683:Nacionalismo y peronismo
1658:Halperín Donghi, Tulio,
1586:Halperín Donghi, Tulio,
1563:Halperín Donghi, Tulio,
1297:La Guerra Gaucha program
1034:Prisioneros de la Tierra
706:United States of America
426:were the weapons of the
32:La Guerra Gaucha (novel)
2677:Detrás de un largo muro
1716:; Ferrero, Roberto A.,
968:In 1934, Manzi founded
597:Alberto Contreras (son)
457:Martín Miguel de Güemes
401:Spanish royalist armies
393:Martín Miguel de Güemes
353:It was selected as the
282:Best Adapted Screenplay
18:La guerra gaucha (film)
3478:Films set in Argentina
3301:Chronicle of an Escape
3229:Buenos Aires viceversa
3182:Después de la tormenta
3059:Juan Lamaglia y señora
2621:The Seducer of Granada
2356:Mahieu, José Agustín,
1898:Buchrucker, Cristian,
1787:Mahieu, José Agustín,
1748:Mahieu, José Agustín,
1681:Buchrucker, Cristian,
1339:
1331:
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1291:
1216:
1180:
1156:
1147:
1100:
1087:
1025:
1024:Ulyses Petit de Murat.
995:("High Fort") (1940).
946:
906:
879:
802:
704:In December 1941, the
663:
640:
536:as Teniente Villarreal
514:
459:carry out a series of
432:
280:(Lucas Demare), and
3503:Historical epic films
3468:1940s war drama films
3349:Clandestine Childhood
2097:Ardiles Gray, Julio,
1312:Claudio España wrote:
1296:
1231:approximately 55,000
1214:
1145:
1085:
1023:
1005:Ulyses Petit de Murat
999:Ulyses Petit de Murat
944:
877:
869:Ulyses Petit de Murat
800:
666:On February 20, 1938
661:
548:as Asunción Colombres
542:as Capitán Del Carril
502:
465:Spanish Royalist Army
405:Argentina's Northwest
254:Ulyses Petit de Murat
71:Ulyses Petit de Murat
3245:Same Love, Same Rain
3189:A Place in the World
3151:Man Facing Southeast
2995:The Old Young People
2707:Italia di notte n. 1
2645:Después del silencio
2487:24 horas en libertad
2479:Dos amigos y un amor
2372:Maranghello, César,
2259:Di Núbila, Domingo,
2213:Maranghello, César,
2190:Maranghello, César,
2144:Maranghello, César,
2121:Maranghello, César,
2071:Maranghello, César,
2018:Maranghello, César,
1967:Maranghello, César,
1852:Maranghello, César,
1803:Maranghello, César,
1764:Di Núbila, Domingo,
1408:Di Núbila, Domingo,
1264:Dos amigos y un amor
1104:Dos amigos y un amor
959:Unión Cívica Radical
741:Unión Cívica Radical
712:after the attack on
708:declared war on the
646:Lugones traveled to
418:The opening states:
3493:Films about gauchos
2907:School of Champions
2557:Nunca te diré adiós
1732:Potash, Robert A.,
1500:on 21 November 2022
1492:(3). Buenos Aires:
1172:black-and-blue mark
951:Santiago del Estero
904:("Gold Mountains")?
855:Origins of the film
521:as Sacristán Lucero
449:War of Independence
373:, presented at the
315:army, loyal to the
143:Estudios San Miguel
3135:The Official Story
3067:Nosotros los monos
3051:Don Segundo Sombra
2955:Los tallos amargos
2565:Como tú lo soñaste
2501:El Hijo del barrio
2465:Films directed by
2424:, which has given
1704:Baily, Samuel L.,
1299:
1217:
1148:
1112:El hijo del barrio
1088:
1026:
947:
880:
845:"Barra del Ateneo"
843:The Ateneo Group (
803:
664:
515:
334:, or maintain its
272:awards, including
258:based on the novel
3488:Fictional gauchos
3458:Films set in 1817
3415:
3414:
3357:The German Doctor
2931:Caballito criollo
2797:
2796:
2755:Humo de Marihuana
2637:Mercado de abasto
2517:The Gaucho Priest
2422:ataquenuclear.com
2336:España, Claudio,
2236:Zolezzi, Emilio,
2107:Suplemento Letras
1990:Zolezzi, Emilio,
1875:Zolezzi, Emilio,
1826:Zolezzi, Emilio,
1632:Rapoport, Mario,
1609:Rapoport, Mario,
1490:La Mirada Cautiva
1436:on 13 August 2014
1116:Corazón the Turco
1015:Jorge Luis Borges
910:La guerra gaucha
902:"Montañas de oro"
826:Francisco Petrone
801:Francisco Petrone
757:industrialization
676:"La Concordancia"
574:Amílcar Leveratto
565:Carlos Campagnale
562:Juan Pérez Bilbao
528:Francisco Petrone
461:guerrilla actions
413:Guerrilla warfare
238:Francisco Petrone
201:
200:
97:Francisco Petrone
51:Theatrical poster
16:(Redirected from
3520:
3508:1942 drama films
3405:The Sleepwalkers
3269:Intimate Stories
3261:Son of the Bride
3167:La ciudad oculta
3111:Time for Revenge
3103:So Feared a Hell
2867:The Phantom Lady
2859:His Best Student
2824:
2817:
2810:
2801:
2723:Los Guerrilleros
2613:Un Guapo del 900
2541:His Best Student
2494:Corazón de turco
2459:
2452:
2445:
2436:
2408:La guerra gaucha
2397:La Guerra Gaucha
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1403:
1355:La guerra gaucha
1318:La guerra gaucha
1279:La guerra gaucha
1268:Francisco Canaro
772:La guerra gaucha
770:"gaucho roots".
689:At the start of
668:Roberto M. Ortiz
644:La guerra gaucha
636:"complete works"
624:Leopoldo Lugones
594:Ricardo Reinaldo
568:Aquiles Guerrero
540:Sebastián Chiola
512:Sebastián Chiola
451:, the irregular
317:Spanish monarchy
262:Leopoldo Lugones
222:historical drama
211:La guerra gaucha
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104:Sebastián Chiola
83:Leopoldo Lugones
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3197:Gatica, el mono
2987:Alias Gardelito
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2661:El Último perro
2589:Mi noche triste
2469:
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2411:at Cinenacional
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2063:
2050:Cuentos de cine
2048:, pág. 132, en
2044:Demare, Lucas,
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1124:El cura gaucho
1077:Aves sin rumbo
1064:Main article:
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974:Nobleza Gaucha
935:Main article:
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886:El viejo Hucha
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849:United Artists
810:Main article:
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341:Ramón Castillo
297:Salta Province
205:The Gaucho War
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135:Distributed by
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130:Jorge Di Lauro
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117:Cinematography
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40:The Gaucho War
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3159:Verónico Cruz
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3043:Martín Fierro
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3016:
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3003:Paula cautiva
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2550:
2549:Savage Pampas
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2426:authorization
2423:
2416:Authorization
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2197:
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2174:, en revista
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1146:Enrique Muiño
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899:
898:"Prisioneros"
893:
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818:Enrique Muiño
813:
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747:, and in the
746:
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738:
737:Latin America
733:
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727:
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719:
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711:
707:
702:
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699:Great Britain
697:(1914–1918).
696:
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645:
639:
637:
631:
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628:Ricardo Rojas
625:
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613:
609:Jacinta Diana
608:
605:
602:
600:Antonia Rojas
599:
596:
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588:
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582:
579:
577:Antonio Cytro
576:
573:
571:Roberto Combi
570:
567:
564:
561:
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555:Dora Ferreiro
553:
550:
547:
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541:
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519:Enrique Muiño
517:
516:
513:
509:
508:Enrique Muiño
505:
501:
494:
492:
488:
485:
480:
478:
477:colonial rule
474:
470:
466:
462:
458:
454:
450:
447:, during the
446:
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431:
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419:
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414:
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399:resisted the
398:
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364:
360:
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351:
349:
344:
342:
339:of president
337:
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329:
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320:
318:
314:
310:
309:Martin Güemes
306:
302:
298:
293:
291:
287:
283:
279:
278:Best Director
275:
271:
270:Silver Condor
267:
263:
259:
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251:
247:
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239:
235:
234:Enrique Muiño
232:and starring
231:
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98:
94:
93:Enrique Muiño
91:
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38:
33:
19:
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3141:
3133:
3127:Darse cuenta
3125:
3117:
3109:
3101:
3093:
3089:Juan Moreira
3087:
3079:
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3065:
3057:
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3033:
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3017:
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3001:
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2947:La Quintrala
2945:
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2697:
2691:
2685:Mi esqueleto
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2555:
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2532:
2531:
2523:
2515:
2507:
2499:
2493:
2485:
2477:
2467:Lucas Demare
2407:
2396:
2373:
2370:(in Spanish)
2365:
2357:
2354:(in Spanish)
2349:
2341:
2337:
2334:(in Spanish)
2329:
2314:
2310:
2307:(in Spanish)
2302:
2287:
2283:
2280:(in Spanish)
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2257:(in Spanish)
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2234:(in Spanish)
2229:
2214:
2211:(in Spanish)
2206:
2191:
2188:(in Spanish)
2183:
2175:
2171:
2168:(in Spanish)
2145:
2142:(in Spanish)
2137:
2122:
2119:(in Spanish)
2114:
2106:
2102:
2101:, en diario
2098:
2095:(in Spanish)
2072:
2069:(in Spanish)
2064:
2049:
2045:
2042:(in Spanish)
2019:
2016:(in Spanish)
1991:
1988:(in Spanish)
1983:
1968:
1965:(in Spanish)
1960:
1945:
1942:(in Spanish)
1937:
1922:
1919:(in Spanish)
1914:
1899:
1896:(in Spanish)
1891:
1876:
1873:(in Spanish)
1868:
1853:
1850:(in Spanish)
1827:
1824:(in Spanish)
1819:
1804:
1801:(in Spanish)
1796:
1788:
1785:(in Spanish)
1780:
1765:
1762:(in Spanish)
1757:
1749:
1746:(in Spanish)
1741:
1733:
1730:(in Spanish)
1725:
1717:
1705:
1702:(in Spanish)
1697:
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1679:(in Spanish)
1674:
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1656:(in Spanish)
1633:
1630:(in Spanish)
1625:
1610:
1607:(in Spanish)
1602:
1587:
1584:(in Spanish)
1579:
1564:
1561:(in Spanish)
1556:
1548:
1545:(in Spanish)
1540:
1528:. Retrieved
1518:
1510:Google Drive
1502:. Retrieved
1498:the original
1489:
1480:
1461:Lucas Demare
1460:
1438:. Retrieved
1434:the original
1424:
1409:
1406:(in Spanish)
1401:
1389:(Cuba, 1948)
1386:
1380:
1374:
1354:
1353:
1340:
1336:
1332:
1328:
1324:
1317:
1315:
1311:
1307:
1301:
1300:
1288:
1282:
1278:
1277:
1263:
1259:
1257:
1253:Lucio Demare
1250:
1242:
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1202:
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1133:
1123:
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1107:
1103:
1101:
1097:
1093:
1089:
1086:Lucas Demare
1076:
1072:
1069:
1066:Lucas Demare
1052:
1048:
1046:
1041:
1033:
1029:
1027:
1010:
1008:
992:
988:
986:
981:
977:
973:
969:
967:
963:
948:
945:Homero Manzi
937:Homero Manzi
931:Homero Manzi
921:
916:
913:
909:
907:
901:
897:
895:
891:
884:
881:
864:
861:Homero Manzi
858:
844:
842:
838:Buenos Aires
834:Lucas Demare
830:Ángel Magaña
822:Elías Alippi
815:
781:
771:
761:
734:
723:
714:Pearl Harbor
703:
691:World War II
688:
675:
665:
643:
641:
635:
633:
622:
603:Laura Moreno
546:Amelia Bence
534:Ángel Magaña
522:
504:Ángel Magaña
489:
481:
463:against the
438:
421:
417:
389:
370:
366:
363:La vida util
362:
352:
347:
345:
332:World War II
321:
311:against the
294:
266:Buenos Aires
250:Homero Manzi
246:Amelia Bence
242:Ángel Magaña
230:Lucas Demare
228:directed by
210:
209:
204:
203:
202:
173:Running time
150:Release date
128:Lucio Demare
107:Amelia Bence
101:Ángel Magaña
78:
75:Homero Manzi
61:Lucas Demare
3341:Las acacias
3253:Nine Queens
3119:Plata dulce
3011:The Escaped
2939:Barrio Gris
2915:Los Isleros
2763:Pájaro loco
2597:Los Isleros
2340:pág. 80 en
2109:n* 106, III
1530:13 November
1504:21 November
993:Fortín alto
730:nationalism
710:Axis powers
587:René Mugica
580:Carlos Enzo
473:Lima (Peru)
120:Bob Roberts
111:René Mugica
57:Directed by
3428:1942 films
3422:Categories
3221:Autumn Sun
2923:Dark River
2899:Almafuerte
2103:Convicción
1394:References
1343:Montevideo
1233:US dollars
1013:and, with
768:indigenous
614:Production
606:José López
591:Raúl Merlo
409:Upper Peru
336:neutrality
305:guerrillas
177:95 minutes
161:1942-11-20
67:Written by
3365:Refugiado
3081:La maffia
3073:La Valija
2851:Juvenilia
2311:La Nación
1524:"Top 100"
1321:required.
1302:La Nación
1274:Reception
1176:hematomas
1060:Direction
982:Confesión
970:Micrófono
955:castilian
792:celluloid
784:directors
642:To write
619:The novel
484:Sacristan
441:Argentina
439:1817: in
274:Best Film
226:epic film
219:Argentine
186:Argentina
27:1942 film
3397:El Angel
3333:Carancho
3293:The Aura
3277:Valentín
3205:Cortázar
2971:La caída
2509:Chingolo
2432:license.
1199:Location
1120:Chingolo
766:and the
680:diabetes
469:estancia
395:and his
386:Prologue
313:royalist
288:at the
192:Language
125:Music by
89:Starring
3317:Aniceto
2963:El jefe
2883:Albéniz
2715:La Boda
2309:diario
2282:diario
1130:Filming
1073:Boliche
1053:Alertas
1030:Crítica
1011:Crítica
435:Summary
428:gauchos
397:gauchos
330:during
326:or the
214:) is a
196:Spanish
182:Country
159: (
3408:(2020)
3400:(2019)
3392:(2018)
3384:(2017)
3376:(2016)
3368:(2015)
3360:(2014)
3352:(2013)
3344:(2012)
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2979:Shunko
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2790:(1977)
2782:(1975)
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2766:(1971)
2758:(1968)
2750:(1968)
2742:(1967)
2734:(1967)
2726:(1965)
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2699:Thirst
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2629:Guacho
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2605:Payaso
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1468:
1440:27 May
1416:
1350:Awards
1285:said:
1237:extras
1235:. The
1049:Dianas
978:Huella
926:Script
788:Mexico
749:unions
743:, the
726:Allies
630:said:
453:gaucho
367:Taipei
328:Allies
244:, and
2875:Celos
2669:Zafra
1304:said:
1229:pesos
1136:Salta
764:tango
424:bolas
256:, is
79:Novel
3389:Zama
3285:Roma
2402:IMDb
2378:ISBN
2319:ISBN
2292:ISBN
2265:ISBN
2242:ISBN
2219:ISBN
2196:ISBN
2150:ISBN
2127:ISBN
2077:ISBN
2054:ISBN
2024:ISBN
1996:ISBN
1973:ISBN
1950:ISBN
1927:ISBN
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1881:ISBN
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1809:ISBN
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1532:2022
1506:2022
1466:ISBN
1442:2014
1414:ISBN
1193:pato
1075:and
510:and
495:Cast
381:Plot
369:and
324:Axis
252:and
224:and
216:1942
3309:XXY
2430:GNU
2400:at
443:'s
260:by
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912:on
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