Luis José moglia

Luis José moglia barth was a renowned screenwriter and film director who directed numerous films in the early stages of Argentine cinema and born in Buenos Aires on April 12 of 1903 and died in the same city on 18 June of 1984. Belongs it to the initiative of founding Argentina sono film producer and his films include Tango! (1933) considered the first Argentine sound feature and Creek (1934).

Early years

He was the son of a businessman and studied at the Colegio La Salle and the Normal School for teachers. Your first relationship with cinema was when he began to work in the business Valley cinematography Assistant cartoonist Quirino Cristiani. Company imported films and also produced the Film magazine Valley, a newscast filmed and without sound appearing every Thursday at 5 p.m. Since 1920.

Adapter and editor

All silent films whose explanatory texts were not in Castilian is them should replace them with legends in this language. For European silent films, especially the German, as they were usually too long for the Argentine taste, which was used to American cinema, was also on work of cutting and Assembly where you soon Moglia Barth purchased such skill that he worked for several distributors.

This “adaptation” work had become more widely. Cut film metres, changed the order of the scenes, captions not translate verbatim but not only changed the language and local idioms used but even changed texts and parliaments attributed to actors who saw on screen which were so changed the same scenes were to have a different sense and even those who were on the scene could get into other characters and lover was transformed into sibling, or the thief in neighbor. Sometimes cuts were preventing the chaining of certain scenes you used the resource to add others filmed purpose-built (a hand by hitting a door, legs going down the stairs).

Was born Argentina Sono Film

Acquired training Moglia Barth filmed two silent films: cuffs, chárleston and kisses (1927) with Boxer patent Kid leather and the 90 (1928) with a team of amateurs. Followed Council of tango, a short with just two rolls singer Amanda Ledesma. It was then presented with his latest film the other to his friend and protective Angel Mentasti which had been working ten years, first at Films Reich and Pathé and Cosmos where Mentasti was Distribution Manager and Moglia Barth currently head of advertising for their adaptation and Assembly work. His initial idea was limited to achieve a financier for your project but then transformed it into something more ambitious: constitute a company totally shot a film but that does not get it until it was started the second and announced a third. His reasoning is that to submit in these conditions to exhibitors showed they were desperate to sell – as usually with those who invested in films as isolated or occasional – and because it was also a way of distributing the risks so that if he failed to others would compensate losses. Mentasti, who knew the business saw immediately the desirability of the proposal which had the added advantage of combining activity who he knew negotiate in that environment, Moglia who knew how to make movies. They joined Julián Ramos who was a lawyer and Robert Favre, a former director of Pathé capital which added to the provided by Mentasti, with which the name chosen by Moglia Barth gave home Argentina Sono Film.

Tango trilogy

The first film of the new society was “Tango!” direction, screenplay and production of Moglia Barth, recognized as the first feature film sound (diskless) produced in the country. Filmed in Ariel, studies of Alberto Biasotti located on calle Boedo and Valley of the Gavilan Street Studios.

The film was:

“a musical parade in which most popular performers of urban music showed its conditions for the song, some for action.” The argument was tiny: spoke of a singer desperate because its noviecita of the district had gone with a mature Gallant. He supposed that they went to Paris and there are travelling, without imagining that the girl was waiting patiently in the tenement house piecita. “Around the corner, the singer already had gone bankrupt several hearts that no more penalty deshojaban tangos here and there.”

Libertad lamarque was the protagonist and cantor Alberto Gómez couple. Tango Noviecita of Sebastian Lombardo and Luis Bates interpreted tango Sciammarella and Fontaina, Andate, and Osvaldo fresedo Orchestra accompanied by Luis visca. They also act Pepe Arias, Tita merello, Alicia Vignoli, Luis sandrini, Meneca Tailhade, Juan Sarcione, Lily Maizani and Mercedes simone. Speakers orchestras of Juan de Dios Filiberto, Osvaldo Fresedo, Pedro maffia, Edgardo Donato, Ponzio-Bazán and Juan d´arienzo and also looks skills of dancer José Osvaldo Bianquet “El Cachafaz”.

The impact of Tango was placed to Argentine cinema in mass confrontation and optimal business. For many years the tango would be the magic formula opening all doors, even outside the country. The following film was Dancing, released on November 9, 1933, based on the play by the same name of Alexander Berrutti, which produced the film debut of Tito lusiardo. Abundant in foxtrots and tangos but with stories that are set in a place to dance without organic link. The trilogy was completed with Creek that had their starring roles in Luis sandrini, Maruja pibernat and Alfredo walks and featured original music by Edgardo Donato and maximum Orsi. For the critic Domingo Di núbila is a skillfully contrivance story which has color and environmental force with effective reideros touches, fast pace, sainetesco dialogue and excellent photography. Luis Sandrini estacó for his excellent performance.

As he had planned Moglia Barth when premiered Tango! He had already begun to roll Dancing. The first film had good reception by critics but instead the economic result of the second was lean and caused removal of venture capital partners that hardly could finish shooting Creek. The latter was not only good criticism but also economic success since having side less than eighty thousand pesos produced only in the first year a million pesos for the producer.

Charting Moglia Barth

In the following films Moglia Barth left the theme which gave him so well. So he headed Hummingbird (1935) that did not satisfy the expectations which had then the success of Creek and Amalia (1936) on the novel of José marble, costly evocation of the selection period with big sets and scenes set including popular dances but devoid of emotion.

Filmography

Director:

* The cure of the sierra (1959) TV series

* Dringue, Castrito and Aladino lamp (1954)

* Criminal Intermezzo (1953)

* Dr. castanets (1950)

* The blind force (1950)

* Don’t tell me goodbye (1950)

* The new Bell (1950)

* Extra Edition (1949)

* Juan Moreira (1948)

* The dark path (1947)

* Maria Rosa (1946)

* Blue ponchos (1942)

* Crosses (1942)

* White beret (1941)

* High Castle (1941)

* Home, sweet home(1941)

* Confession (1940)

* The finger on the trigger (1940)

* Footprint (1940)

* A woman in the street (1939)

* Twelve women (1939)

* Paths of faith (1938)

* The last meeting (1938)

* Buenos Aires melodies (1937)

* The House of Quirós (1937)

* Melgarejo (1937)

* Goal! (1936)

* Santos Vega (1936)

* Amalia (1936)

* Hummingbird (1935)

* Creek (1934)

* Dancing (1933)

* Tango! (1933)

* Council of tango (1932)

* 90 (1928)

* Cuffs, chárleston and kisses (1927)

o Screenwriter

* Dr. castanets (1950)

* The blind force (1950)

* The dark path (1947)

* Maria Rosa (1946)

* Crosses (1942)

* White beret (1941)

* Home, sweet home(1941)

* Paths of faith (1938)

* Buenos Aires melodies (1937)

* The House of Quirós (1937)

* Melgarejo (1937)

* Amalia (1936)

* Hummingbird (1935)

* Creek (1934)

* Dancing (1933)

* Tango! (1933)

o Adaptation

* The last meeting (1938)

o Production

* Criminal Intermezzo (1953)

* Tango! (1933)

o Mounting

* Blue ponchos (1942)