Rodolfo Bebán dies: his unique relationship with cinema

There Bebán shared the poster with a large cast of actresses and actors, many of whom came, like him, from theater and television: Attilio Marinelli (another great icon of the telenovelas), Gilda Lousek, Osvaldo Miranda, Marilina Ross and Marcos Zucker among others.

The first big role

Her first stellar film role came that same year with Arm in arm and down the street (Enrique Carreras), an Argentine-Spanish co-production with which he forms a couple Evangeline Salazar (it wouldn’t be Bebán’s only contact with the Ortega clan) that showed the conflicts of a humble couple.

His figure grewIt was the era of the great cinemas in the city center (Luxor, Gaumont, Select Lavalle, Metro, Ambassador, etc.) and together with the success of these great theaters in each neighborhood there were at least two or three cinemas debuting at the same time.

A year later it would be The piranhasanother production shared with Spain and directed by none other than the prestigious Luis García Berlanga (Valencia, 1921- Madrid, 2010).

In 1968 he made his debut, also directed by Enrique Carreras, Argentine wedding. The film was based on the comedy Sextet, by the Hungarian writer and screenwriter Ladislao Fodor. The title alluded directly to the great film by Vittorio de Sica Italian weddingwith Marcello Mastroianni and Sophia Loren, who it had been a worldwide success in 1963.

1969 shows Bebán as part of the cast of The boys from before didn’t use gomina, with a screenplay by Norberto Aroldi, a film set in Buenos Aires at the beginning of the 20th century and with Susana Campos as a partner.

Juan Moreira, the consecration with Favio

In 1972 Bebán put himself in the shoes of the caudillo Juan Manuel de Rosas, along with a cast that included Sergio Renán (as Juan Lavalle) and Aldo Barbero in the role of Tomás de Anchorena. This revisionist attempt did not go well directed by Manuel Antín and the specialized criticism of the time practically destroyed it.

Revenge for the actor would come exactly a year later, when the gigantic Leonardo Favio calls it to star in one of his most acclaimed films: Giovanni Moreira.

Elcira Olivera Garcés and Edgardo Suárez supported him lazy, dirty and “badly amused” gaucho.while the reason of law the musical by Pocho Leyes and Luis María Serra has become a real radio hit.

They will obviously be set on fire the last three words of this Christ of the Pampas in the filmwhen he is stabbed by Chirino’s bayonet: “With this sun …!”.

Giovanni Moreira wins the Silver Condor for Best Picturein 1974. But it is also a huge success with the public: that’s what they say two and a half million viewers they saw it

With Trial of infamy (1974) and directed by Alejandro Doria, Bebán returns to black and white cinema to star in the fight between two warlords in Buenos Aires in 1930. By way of curiosity, it should be noted that the film fIt was initially banned by de facto government censorshipbut after cutting some scenes in which Marilina Ross was raped, the censor Miguel Paulino Tato allowed her performance.

Tato had directed Miguel, Bebán’s father, to enter Facundo, the tiger of the plainsin 1952.

With the pen of Borges and Bioy Casares

On 23 October 1975 it opens the banks of the riverdirected by Ricardo Luna from his own script shared by none other than Jorge Luis Borges and Adolfo Bioy Casares.

In the cast: Milagros de la Vega, Oscar Ferrigno, Antonio Grimau, María Leal and the great Egle Martin.

It would be three years before Rodolfo Bebán returned to the big screen, and he did it with the first feature film by Jorge Zuhair Jury, The fantastic world of Maria Montiel. The script was shared by the jury with his brother, Leonardo Favioand the critics surrendered at the foot of this film which told the story of a girl in a brick oven.

The invitation (September 1982) is based on the novel of the same name by Beatriz Guido about an arms dealer who arrived in southern Argentina. There he shared great performances with Pepe Soriano, Ulises Dumont and China Zorrilla.

The final point of Rodolfo Bebán’s cinematic cycle is given by the film Personal safety (Anibal di Salvo, 1986), which he recounted the love story of a bodyguard with a criminal’s wife (yes, Tarantino didn’t invent anything) with commendable interventions by Katja Alemann, Darío Grandinetti and Rudy Chernikoff.

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