Bebán’s blue eyes, a relentless imprint that his characters took advantage of.
There are deaths that transcend notorious biographies and lineages like hers. Rodolfo Bebán left last weekend at the age of 84 a prisoner, it seems, of a deep melancholy. Perhaps the new generations don’t know much about this acting animal that shone on the stage, in whatever format they wore it.
Classical theater, unforgettable telenovelas, which today could compete hand in hand with Turkish, Colombian or Mexican cans; movies, light comedies, dramas. Thanks to his acting talent he managed to escape the cliché of a pretty face and fairytale prince eyeswithout giving up that imaginary gift of the conqueror who fell in love with the entire female audience.
Nobody ran away: has been able to enchant a series of grandmothers, mothers, daughters, wives, aunts, sisters. The boy occupied the wide open home screen and sighed in the distance. He got closer to family snacks, over time they had to put an extra plate at dinner and even accompany him on weekends on some small screen theatrical evenings.
Bebán was a coveted figure by the best film and television directors.
It was he, together with a generation of prominent artists, who had recreated the golden generation of Argentine cinema of the 40s and 50s and was able to reinstall it on televisions in the kitchens and living rooms of the Argentine popular classes for more than two decades..
He was more than just gallant. More than an actor. More than a comedian. It was all of this together. Rosas and Juan Moreira, the corrupt businessman, the honest politician and the malevaje compadrito. The Don Juan Eternal of waking love dreams.
He was sought after by the best directors of all genres. Leonardo Favio, Hugo Moser, Nené Cascallar, Alberto Migré, Enrique Carreras, Manuel Antín, just to name a few. Everyone wanted it.
Rodolfo Bebán starred in “Juan Manuel de Rosas”, the film by Manuel Antín (1972).
He was always seen in memorable telenovelas that gesture so his to shake a glass of whiskey on his foreheadfrom one side to the other, as if passing a cold cloth, to mitigate possible crossovers of love or fictional affairs.
It must also be remembered for what it meant in the daily life of many families in the process of integrating consumption with vintage televisions. in all segments they saw him as an Adonis of beauty who eroticized their fantasies. They all loved him. And he let himself be loved. So much so that maybe he left without knowing it well enough.
Osvaldo Pepe
Source: Clarin
