José a. Ferreyra

José a. Ferreyra, whose nickname was “the black Ferreyra”, was an actor and film director who directed numerous films in the early stages of Argentine cinema. Born in Buenos Aires on 28 August 1889, died in the same city on January 29, 1943; his fondness for painting took him to convert when he was still very young in one of the first scenographers theatrical Argentine, which in turn led him to film-making.

It began in silent and he continued after the arrival of talkies, and he directed films between 1915-1941, most of the time with very modest financial and technical resources but always showing a great passion for what was. He was also a composer of tango, in general, linked to the films made.

His films with a marked aesthetic localism reflected mainly the characters and situations of the Buenos Aires suburb, which not prevented him from some of the first films of Libertad lamarque which began a phase of deep penetration of Argentine cinema in Latin America.

Early years

Ferreyra was born in the neighborhood of Buenos Aires Constitution in an old house parents rented the vicentine cures. His father Juan Ferreyra was of European descent and had various occupations, always in an autonomous way, some of which included travel inside and outside, his mother Jesus Saavedra heart Teresa Manuela black ethnicity. During his primary studies was stressed in drawing and painting and he also began learning to play the violin but essential learning for its future activities made it on the streets of their neighborhood.

In his early teens he began to go to the store and drinks firm located in Entre Ríos and Buenos Aires Garay atilio malinverno friend was the son of the owner. As it was a place frequented by artists, from payadores to painters and writers, this brought him into contact with writers such as Enrique banchs and plastic as Michael Petrone, Ángel Domingo vein, Ceferino carnacini, among other artists. Ferreyra was involved in discussions, listened to the views, intervened in polemics and in the end, acquired new knowledge in this messy and direct way.

Beginning as a plastic artist

At that time he began to paint, and this led him to become along with Malinverno first Argentine scenographers who worked at the teatro Colón, to do so until 1910 under the teaching of master Ferri, brought by the Theatre from the Scala in Milan in 1907. Left the Colón to compulsory military service and at the end opened with Malinverno workshop scenography remained approximately until the end of 1914, Malinverno joined devote fully to painting while Ferreyra way to film.

Work in the cinema

Its beginnings

Ferreyra was much reading without a warrant and saw film; especially liked Chaplin, Ince, Griffith and the Swedish film. In 1915, there was a special event in Argentine cinema with the premiere of Gaucho nobles, a movies with greater economic success and public in the country. The same year Ferreyra without other prior experience other than that of spectator debuted in film as an actor and filmmaker with the film one night in garufa (the adventures of Tito).

The film was broadcast and was only shown at a private function in cinema Lorea Plaza Colón. In 1916, he directed the mysterious island and escape from Raquel without any impact. April 9, 1917 debuted in film Real tango of death with screenplay, direction and scenography Ferreyra and performed by Maria Kingdom, Margaret Piccini, nelo cosimi, Manuel Lamas and Pascual Demarco. The producer of the film was Gumersindo f. Ortiz, owner of film studies.

Is tango song

20 April 1918 there was an event which marked the start of a new stage of tango and influence not only in music but also film and theatre. Premiere Emerald Theatre (then called theatre Maipo) farce the teeth of the dog is José González Castillo and Alberto T. weisbach whose work Elías alippi director staging incorporated in the execution of Mi noche triste Pascual contursi and Samuel castriota that if well was not the first tango song, there is consensus in considering that by transcendence which had its premiere should be taken as starting point of this stage that would show the absolute predominance of works whose lyrics told stories.

Ferreyra was not alien to this current and was so he made several films with the same themes that appeared in the song tangos or directly inspired in them, reflecting the citizen landscape and personal dramas of its inhabitants. As well Buenos Aires dream city (1922), Gold Melenita (1923) about jose bohr, the maleva (1923), tango on tango violinist Antonio Buglione, while Buenos Aires sleeps (1924) which featured the bandoneon Player Alfredo Anselmo aieta as an extra.

It may 19, 1925 premiered in the cinema Metropol Ferreyra address my last tango and the performance of Nora Montalbán, Percival Murray, Elena Guido, Rafael los Llanos and Julio Donadille. 13 October the same year he became known in theaters Alvear, Gaumont, Paramount and Select Lavalle, afternoon organito on argument by José González Castillo and cátulo Castillo and the performance of Maria Turgenova, Ferreyra, wife in the role of Esthercita; Julio Donadille Mecha Cobos, Arturo Forte, initially Llopis and Alvaro Escobar. It was produced by Luis Vicente Scaglione Colon Film.

The streets of Buenos Aires film shot by Ferreyra entirely outside of the city starring William Casali Nelly Ayllon, Leonor Fernandez, Enrique Maza, Mario soffici and Miguel Gómez Bao and includes various songs, some of them in charge of Rudy Ayala jazz orchestra.

In 1926 he led the costurerita that gave the wrong step on the known self-titled Evaristo Carriego sonnet.

Begins the film with sound

On the initiative of Federico Valle, a promoter of Argentine cinema, Ferreyra undertaken in 1930 filming for the singing of the gaucho. The film was conceived and carried out as a film without sound but once faced a precarious sounds synchronized without dialogues but limited to a musical accompaniment in which María Turgenova singing a tango. Then that same year shot singing in my town but already conceived with a musical accompaniment, which opened one month earlier than the previous one. Two films were serious technical flaws and the following year he filmed Buenos Aires Muñequitas which includes tango Muñequita of herschel Carlos Adolfo and Francisco lomuto was first long shot in Argentina, footage totally sound by the Vitaphone system.

In 1934 he made tomorrow is Sunday noted actor José Gorge where Sunday Di Núbila qualifies as the first “essentially cinematic interpretation” of Argentine cinema.[ 1 ] Then came Alsina bridge (1935) starring José Gorge and help me to live (1936) with Libertad lamarque singing and acting in “a sort of Opera Tango, a peculiar form of folletín where the emotional peaks will be lyrical panegyrics.

On this film entered in addition to “innovation introduced idea of Lamarque – continue the dialogue with a tango diegetic and a drama cathartic – was an unexpected revelation, and was consecrated in the Americas.” “No one would have thought that, from modest Studios S.I.D.E. out the first Argentine film compete in the Latin American film market with the United States”.[ 3 ] and with reference to the film critic Calki on the director wrote: “up to that point was innovative;” He found a recipe that was later to exploit Hollywood in so many musical comedies, cut a dialogue, in full, or dramatic, romantic situation and turn it into a song; “in our case a tango”

For its part Conselo film critic felt that:

“Dragged by the commercial wave Ferreyra diminished without losing its virtues: storytelling was carried with the maximum possible flow and avoiding excessive support dialogue and fugases external cordoban they sought a breather reminiscent of the silent, was cared for the composition of the image, there was some heat in descriptive for missing the usual aftertaste director popular types and details characteristically citizens.” “All not reproached the intent actually achieved, to manufacture the first star of overwhelming force of Argentine cinema canora Libertad Lamarque figure.”

Di Núbila then refer the personal episode lived at that time by Libertad Lamarque may have contributed to the identification of the public with the protagonist says that “other pluses contributed to phenomenal success were its agile development in short scenes, enough action tracking with close-ups, abundance of foreign, some sets of unusual breadth and in general, a visual diversity skillfully planned in an atmosphere of class average high was still innovative national online.”

The sound of the film meant a considerable improvement on the previous therefore took Sidefon, developed and operated by Alfredo and Fernando Murúa system and thus announcing titles film with “Syncing music orchestra of 50 teachers and female choir of 20 voices under the direction of Vázquez Vigo”.[ 7 ] Libertad Lamarque began to be called “La star Maxim’s Latin America” and to get idea of the impact of the film in some countries cited that in Cuba expression “Help me to live” was incorporated into the popular language to the point that for quite some time was used as a synonym for the well cut with milk coffee.

The following year she films boys town which serves elvino vardaro Orchestra accompanying Herminia Franco singing so tango and Carlos Dante tango City playing. Back then with Libertad Lamarque film films Besos brujos (1937) and the law forgot (1937). Although Besos brujos is based on a story by Enrique García Velloso, this writer in a public letter disowned the film considering that it desvirtuaba tale artistic and literary language as the action. The film is about a female singer kidnapped in the forest by a rancher in love then he renounces its claims to realize that the love of it belongs to a boyfriend to release it and is bitten by a poisonous snake; It was neatly made by Ferreyra showcasing Lamarque who accompanied again as gallant Delbene searching. The law forgot is José González Castillo, a writer with recognized social, concerns about a maid whom they will first endilgan a creature to protect honour a Miss social position and then are removed. The films were “ticket office champions”.

On the three films directed by Ferreyra Libertad Lamarque wrote:

“Are films which I want to and I am extremely grateful because with them to the front, the Argentine cinema not only invaded all the markets of Latin America, but marked me immovable stamping ‘Star’ to this day.” Technical and artistically modest films were therefore that more and the less we were all amateur and without the possibility of better resources to lift the aim; but they were made with love and with the same care received by the public. “Today, as yesterday, not only with love, but also with memory, sorrow, even in scenes that myself laugh me cause”

Then came Spring Sun, the last original plot, a most romantic movie that adventures with very good invoice and advances in sound, about two brothers seeking adoptive sister. Followed that not forgave you (1938), the best film by Ferreyra, but made a book from Hugo wast whose own 19th century spirit hit the time [ 11 ] was filmed and makes a notable work actress Elsa O’Connor. At this point the filmmaker split with producer SIDE so its remaining four films are made out of the industrial structure. The first three were starring Elena Lucena that had become popular on radio Chimbela character, a girl from simple neighborhood and chatterbox. and they show a great narrative fragildad. The first character, which gives its name to the film shot in 1939, falls for a fugitive accused of homicide who protects. It contains the classic elements of the neighborhood: the tenement house, cigarrrillos post, girls with better spend than the rest, the Gallant, comments from the neighborhood. The next was the angel of cloth (1940) about a young man by an orchestra conductor turns out to be the daughter of a millionaire, which adds to the shortcomings of the plot “appallingly weak dialogue” [ 12 ] and the third birds without nest (1940) modest production which critic Roland stressed its simplicity, humility and sincerity craving while Calki called “home folletín”.[ 13 ] The latest film Ferreyra, shot when he was already ill, was the woman and the jungle (1941), set in the Chaco, which deals with the owner of a quebrachal that hijacks the female singer that had fallen in love and she did lose his fortune finally in love. The unique merits he could find criticism were foreign films portraying life at the obrajes.

Death

José Agustín Ferreyra died on January 29, 1943 in Buenos Aires from throat cancer. In 1924 he had married Maria Turgenova and they remained married for seven years.

Tangos by Ferreyra

Tango was present in all Ferreyra Filmography of tango of death and without being a professional composer made several Tango lyrics. For 1922 arrabal girl he wrote in collaboration with Leopoldo Torres rivers the tango of the same name, with music by Roberto firpo. The play accompanied the exhibition of the film by the Firpo Orchestra in the pit of the stage where the film was shown. This tango was recorded by Carlos Gardel in 1923 for Odeon disks under the shortened title of the girl.

The film aired my last tango 19 May 1925 in the cinema Metropol, Ferreyra wrote the lyrics of tango and you reías like mad with music by Eduardo Pereyra, where item is the prostitute defeated by life that only releases with death.

Gardel recorded this tango in Spain, in the Barcelona Trasocean company in 1928 with guitarists Ricardo and Barbieri.

When opened the afternoon organito film projection was accompanied with running Live tango of the same name by José González Castillo and another called the soul of the street which had Ferreyra lyrics and music by Raúl the holes that remained the same evocative line than the previous. This tango Ferreyra was dedicated to master Arturo Bassi and was recorded by Gardel in 1926.

For Chiclana girl (1925) Ferreyra wrote self-titled tango Anselmo Aieta music to be executed during the exhibition, and would later record Francisco Canaro. The lyrics, as well as the film is arrabal fair-haired dragged to Vice and sin. Tango redemption wrote in collaboration with Nolo López and William Casali music for Buenos Aires streets.

Valuation

José Agustín Ferreyra was a cinema marked localism in purely aesthetic, not message color or protest but testimonial. Noted critic Domingo Di núbila to Ferreya “it caught plastic force and the suggestion that certain images of reality, preferably of the suburb, to be able to arouse tears in the spectators with the approach of some guys playing ball or of happy-go-lucky a sweet melancholy with his vision of an organillero away into the sunset”

Mario Soffici wrote in the cinema Magazine February 12, 1943: “Ferreyra wanted to carry the American peoples his spiritual message in his first films.” He had captured the soul of the Buenos Aires suburb, simple lives, domestic conflict, the humble men and romantic girls…He had no luck. Everything went you from bad to worse… “.” Leopoldo Torre Rios had anticipated “.. .the Ferreyra tragic poverty” in a note published in exhibitor magazine of August 18, 1926 in the success of the girl of the suburb.

Manuel Peña Rodríguez Ferreyra sees as “the man of the early constructor without much discipline.” There was no preparation in it. “However, there it unconcern, perhaps Bohemian anárquica.” Recognizes that it has made films of rural as field out and return to the payment, but adds, “legitimate source of inspiration will be on why lowly in the big city, suburb and sentimental flowers, the malevaje and the percantas, in empleaditas conducive to the tronchamiento and licentious patterns, pain, love and the passions of the poor”

It was thus seen

Journalist Julián Rielar Ferreya described as”high, thin, morocho, wavy hair, eyes restless and vivid, slow walk and talk calmoso;” spiritually, deeply emotional, with a reserve of romanticism, of truly permanent type of hope constantly awakens; “committed to the Earth in the pure work, referred to respect equal to the real creation”

Meanwhile Conselo wrote that Ferreyra:

“Was, therefore, essentially intuitive, self-taught in all, formed breaks.” Alumbraban it a lively intelligence and also natural talent. It imposed in the dialog, it seemed respect, he thrummed. He had authority to leader. Minute to minute lived life with sensual aftertaste, it liked, and spent it. Content nervous temperament, rarely cigarette fell her lips. I loved the social gatherings and feverishly tried to set path of a specific project of any kind, lent to resolutely command, to fill vacancies. Although longing for acuciaba it strength of intuitive and never ended things at all, rounding in draft. Women and friends remember him vehement and tornadizo in love.(…) Prone, over which to loneliness, self-absorption, was however prodigal without folds in friendship, as receptive as accessible. (…)Friendship did not respect, a certain distance, tolerance to admit equally long silences or untimely delivery to dialogue. “Wheel of coffee was interrupted at times when black escapes to the nearest bookstore to return with a school notebook, where already mismao borroneaba occurrences and next movie, achievable ideas or not” [ 17

Filmography

As director

* Women and the jungle (1941)

* Birds without nest (1940)

* The Angel of cloth (1940)

* Chimbela (1939)

* The who spared not (1938)

* The law forgot (1938)

* Besos brujos (1937)

* City boys (1937)

* Spring Sun (1937)

* Help me to live (1936)

* Alsina bridge (1935)

* Tomorrow is Sunday (1934)

* Streets of Buenos Aires (1934)

* Gaucho Rhapsody (1932)

* Buenos Aires muñequitas (1931)

* The song of the gaucho (1930)

* The song of my city (1930)

* Sorry, older (1927)

* Muchachita Chiclana (1926)

* The costurerita that gave the bad step (1926)

* Return to the room (1926)

* My last tango (1925)

* Afternoon organito (1925)

* Yacanto arriero (1924)

* Buenos Aires while sleeping (1924)

* Serrano hatred (1924)

* The legend of the inca bridge (1923)

* Melenita gold (1923)

* Heart of Creole (1923)

* The maleva(1923)

* The girl from Florida Street (1922)

* Arrabal girl (1922)

* Buenos Aires, city of dream (1922)

* The Gaucho (1921)

* Blonde pigeons (1920)

* Back to the payment (1919)

* Ajuera field (1919)

* The tango of death (1917)

* Gaucho revenge (1917)

* The escape of Raquel (1916)

* The mysterious island (1916)

* A night of garufa (1915)

As a script writer

* Birds without nest (1940)

* The who spared not (1938)

* Besos brujos (1937)

* City boys (1937)

* Spring Sun (1937)

* Help me to live (1936)

* Alsina bridge (1935)

* Tomorrow is Sunday (1934)

* Streets of Buenos Aires (1934)

* Gaucho Rhapsody (1932)

* Buenos Aires muñequitas (1931)

* The song of the gaucho (1930)

* The song of my city (1930)

* Sorry, older (1927)

* Muchachita Chiclana (1926)

* Return to the room (1926)

* My last tango (1925)

* Afternoon organito (1925)

* Yacanto arriero (1924)

* Buenos Aires while sleeping (1924)

* Serrano hatred (1924)

* The legend of the inca bridge (1923)

* Melenita gold (1923)

* Heart of Creole (1923)

* The maleva (1923)

* The girl from Florida Street (1922)

* Arrabal girl (1922)

* Buenos Aires, city of dream (1922)

* The Gaucho (1921)

* Blonde pigeons (1920)

* Back to the payment (1919)

* Ajuera field (1919)

* The tango of death (1917)

* Gaucho revenge (1917)

* The escape of Raquel (1916)

* A night of garufa (1915)

Scenery

* The costurerita that gave the bad step (1926)

* Buenos Aires, city of dream (1922)

* The Gaucho (1921)

* Blonde pigeons (1920)

* Back to the payment (1919)

* Ajuera field (1919)

* The tango of death (1917)

* Gaucho revenge (1917)

* The escape of Raquel (1916)

* A night of garufa (1915)

As a producer

* Streets of Buenos Aires (1934)

* Muchachita Chiclana (1926)

* Buenos Aires while sleeping (1924)

* The Gaucho (1921)

The theme song composer

* Streets of Buenos Aires (1934)

As an actor

* A night of garufa (1915)

Notes

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