Cinema: Argentine Cinema History

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Argentine Cinema History

	Soon, these and other companies produced 30 films per year which they exported to Latin America; especially, Libertad Lamarque's melodramas, Sandrini's comic films and later, also Niní Marshall's. In 1938 there were already 29 filming galleries, although with a still precarious equipment.
Niní Marshall impersonating Catita		Muchachada de a Bordo. (Boys on Board) Front cover of the programme.

Mario Soffici

The main filmmakers were the prolific Moglia Barth. The more promising and skillful Manuel Romero with: La vida es un tango (Life is a Tango); La muchacha del circo (The Circus Girl) and Fuera de la ley (Outlaw), thriller forbidden in New York; among others). The rigorous Mario Soffici, the script-writer of Prisioneros de la tierra (Prisoners of the Land) -according to surveys, the best Argentine movie-, of other social dramas and also some comedies; the suburban poet Leopoldo Torres Ríos author of La vuelta al nido (Back to the Nest), Pelota de trapo (Cloth Ball) and Aquello que amamos (What we love); the rhetoric but effective Luis César Amadori filmmaker of Dios se lo pague (God Reward You) and Almafuerte; and the creator of bourgeois comedies, Francisco Mugica in Así es la vida (Such is Life), Los martes, orquídeas (Tuesdays, Orchids). Also the more refined Daniel Tinayre, Luis Saslavsky, de Savalía and Borcosque.

Left: Prisioneros de la Tierra (Prisoners of the Land). Mario Soffici . Center: Arturo de Córdoba, Enrique Chaico and Zully Moreno in Dios se lo pague (God Reward You). Luis César Amadori. Right: Así es la vida (Such is life). Francisco Mugica.

Lucas Demare	Shortly afterwards, Carlos Hugo Christensen with dramas and erotic comedies with: Safo and El ángel desnudo (The Naked Angel), the comedy directors Bayón Herrera and Schlieper, and the epic cinema director Lucas Demare with: La guerra gaucha (The Gaucho War) and Su mejor alumno (His Best Pupil) also made their appearances. Three key events in the 1940s were the formation of the Associated Argentine Artists cooperative, with a large part of the "intelligentzia" of the period; secondly, the crisis for the lack of virgin film (as a consequence of Argentine neutrality during the Second World War) and since 1944, the increasing state intervention. Eventually, this would lead to forms of censorship, blacklists, discretionary distribution of virgin film and favorable credits which only benefited occasional businessmen.	Inner pages of the programme of the film La Guerra Gaucha (The Gaucho War).
La Guerra Gaucha (The Gaucho War). Lucas Demare. 1942

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Paraná Sendrós Print material kindly granted by the Pablo C. Ducros Hicken Cinema Museum

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