Carlos rinaldi was an Editor, writer and film director Argentine who was born in Buenos Aires Argentina 5 February of 1915 and died in the same city on 10 may 1995.

Its relationship to cinema

Except in the studies Lumiton that had hired an editor, the reconciliation was considered until 1937 by Argentine filmmakers as one of the tasks of the director of the film and a rather secondary aspect of film-making. The juxtaposition of shots denoted lack of sense of rhythm, the aesthetic line and dramatic feature that should arise a good mount. Directors, once finished shooting, had to work in the section armed lab, which consisted of shelves where hundreds of outlets is piled in others so many rolls a large table, one this, two baskets and a magnifying glass. They should first eye to recognize each shot, trying to remember what scene belonged, calculate the approximate footage should give, and then paste. If some scene appeared have been lost between the rolls, they should be filming again. Then they saw the scenes compaginadas projection, taking notes and added or removed here and there. This work was source of frequent prohibitions among the capitalists wanted to release as soon as possible and claimed the laboratory gives urgent copies and the laboratory relied for the delivery of the date on which the director given armed film.

Carlos Rinaldi was working at the laboratory of Alberto Biasotti and not only attended almost from the beginning these projections but which on its own initiative was consequential debates of the director with his assistants of problems and potential of the Court, which was growing interest in the reconciliation into enthusiasm. Rinaldi quickly understand that above all needed a ratio of angles and distances of outlets that they eslabonaran naturally to what serve to focus the viewer’s attention on what was most important in every moment of the account, the precise duration of each shot contributes to establishing dramatic time and get all that required a highly specialized professional.

In 1936 Rinaldi to your employer had the idea of creating a section intended to help managers in the building of his films. Rinaldi took their ideas to Angel Mentasti led Argentina sono film and was hired by the mounting of Melgarejo, the film currently filming José Luis moglia barth. In early 1937 Rinaldi made a moviola using the head of an old projector Pathé and a steering wheel allowing him to stop the slide show will and settled in his Department where he began trading with his brothers as helpers, Gerardo and Atilio. First student intakes elected to know them, once familiar with the material he reasoned mentally on his chances of armed, then put it on paper writing a kind of mounting frame and then just cut and hit after which was still possible adjustments. If he felt yet missing shots to obtain a degree of fluency, desirable aesthetic balance or dramatic valuation, spoke with the director and if this was convinced filming. For this reason he endeavoured to combine each scene before that the study is desmontara decor.Luis César amadori, who understood early the importance of Assembly, proposed Rinaldi to make their comments during and not after filming. It was in the shooting of Honeysuckle was looking at making and proposing here Director and beyond shots they will provide fluidity, pace and interest. Shortly afterwards, in early 1938 Argentina Sono Film purchased a moviola.

Carlos Rinaldi was then Pampa Film as head of reconciliation with his brothers as helpers and in 1942 joined the founding group of Artists Argentinos partners whose films released since the first – the old piggy bank – until 1945 barbaric Pampa. In 1949 he debuted as a director with the empty cradle and it continued to run until Devil got the leg of 1980.

Rinaldi said he had never thought to direct movies although he approached the shooting place provided that could, which was also important for its work on the layout. Years later declared: “Keep a beautiful reminder of all Argentine artists fellow partners.” “Argentine cinema technician was always very careful of his task: I remember that some called me home to wonder how such originated or which takes”.[ 1 ] believed that “our film just need abroad whether it reflects reality, themes, types, and habits our.” Only this way we will have a truly indigenous cinema. I am sure that the films that paint us as we are and live will be that most gravitarán on the outside. To do this the importance of the argument is basic, but the director may maolograrlo. And it is imperative to work cooperative with the author to the frame. Only then will independently translated images and narrative. “This is the best way to achieve a story idea”



* Blood grooves (1950)

* Lost kisses (1945)

* The cavalcade of the circus (1945)

* Barbaric Pampa (1945)

* The dead missing appointment (1944)

* When the spring is wrong (1944)

* Best student (1944)

* A man (1943)

* Men prefer widows (1943)

* Solar eclipse (1943)

* When the orange tree flourish (1943)

* Southern border (1943)

* Artificial children (1943)

* Three men from the River (1943)

* La guerra gaucha (1942)

* Old piggy bank (1942)

* Crosses (1942)

* Thou art peace (1942)

* I want to die with you (1941)

* The cura gaucho (1941)

* Fifth slander (1941)

* Chingolo (1940)

* Chained (1940)

* The son of the neighborhood (1940)

* Turkish heart (1940)

* Behind closed doors (1939)

* Wings of my homeland (1939)

* Atorrante (1939)

* Native (1939)

* Honeysuckle (1938)

* Plum master or Master Levita (1938)

* The last meeting (1938)

* The House of Quirós (1937)

* Melgarejo (1937)


* Devil got the leg (1980)

* Blue alert (1980)

* Not suitable for minors (1979)

* Andrea (1973)

* Goodbye Alejandra (1973)

* My friend Luis (1972)

* Ballad for a backpacking (1971)

* Pepper and paprika (1970)

* Maternity leave without men (1968)

* The right to happiness (1968)

* To hell with this cure! (1967)

* Pepper (1966)

* Weird bug (1965)

* A Midsummer night’s journey (1965)

* The desastrólogo (1964)

* The castle of monsters (1964)

* Male and Female Since Adam and Eve (1961)

* The great adventure, or “I want to live with you” (1980)

* Salitre (1959)

* Appearances are deceptive (1958)

* Everything is for good (1957)

* Africa laughs (1956)

* Millionaire (1955)

* Poor but honest (1955)

* Married and Miss (1954)

* A man (1954)

* On the other side of the bridge (1953)

* Rangers and thieves (1952)

* Batty patrol (1952)

* The wasteland (1952)

* Frightened ghost (1951)

* The empty cradle (1949)


* Devil got the leg (1980)

* Not suitable for minors (1979)

* Ballad for a backpacking (1971)

* The right to happiness (1968)


* Maternity leave without men (1968)

* The right to happiness (1968)


* On the other side of the bridge (1953)…. Cameo

Laboratory Assistant

* Loco lindo (1936)