Homero Nicolás Manzione Prestera

Homero Nicolás Manzione Prestera (Añatuya, 1907 – November 1, Argentina Buenos Aires, 3 may 1951) was a songwriter and film director Argentine author of very famous tango neighbourhood, Malena, Milonga sentimental, Romance de Barrio and South various tangos and milongas.

Biography

He was the fifth son of Luis Manzione, modest landowner and Angela Prestera entrerriana Uruguay conception, would have eight brothers. He grew up in Añatuya, Santiago del Estero province until the age of nine; When he was moved by his mother to Buenos Aires as the father was working in Añatuya. The family was returning from holiday to his hometown. From his childhood in the neighborhood of Pompeii dates his familiarity with the culture of Buenos Aires, always present in his suburb. However, Manzi highlighted their filiation of the interior and sometimes signed with the pseudonym Arauco (“rebel” in quichua), to emphasize his affinity with the santiagueña identity.

In Buenos Aires, he became friends with cátulo Castillo, who would be another prominent tango lyricist. Under his influence, and especially his father José González Castillo, a writer of some renown, was devoted to literature. Still adolescent was introduced in the theater, wrote, directed and acted in local productions. Meanwhile, started its activity of lyricist; in 1922 he wrote the first of his works is preserved, why not me besás?, recorded by Ignacio corsini in 1926. From this time dates tango blind old, submitted to the magazine “The soul sings” contest.

Journalism and teaching

After a brief incursion in journalism, Manzi worked as Professor of literature and Castilian in national schools Mariano Moreno and Domingo Faustino Sarmiento until 1930. Member of the Radical Civic Union, for supporting militant ousted Hipólito yrigoyen and activist of the University reform, the Government de facto of Uriburu imprisoned him for a brief time and drove him out of both chairs. Cleared of their teaching responsibilities, chose to devote fully to art; He organized a company dance that went on tour through the interior of the country, Chile and Peru.

Music

Renewed contact with the folk genres so encouraged, along with Sebastián Piana, revalue roiled the milonga genre. Milonga del 900 (1932) marked the renewal of the genre, which provided a poetic complexity unprecedented; Milonga sentimental, slightly later, It was recorded by Carlos gardel. He later told the lyrics of “Malena”, one of his most famous tangos.

Manzi drawing in the corner that bears his name, in Buenos Aires.Wrought iron

In 1935, dissatisfied with the direction UCR alvearista participated in the founding of forging (Argentina young Radical orientation force) with Arturo jauretche, Raúl scalabrini Ortiz and Luis dellepiane. FORGING, a movement that advocated the return to the principles the Constitution, prolific and anti-imperialist, federalists actively criticized government policy during the so-called Decade infamous for their subservience to the interests of international capital. No less critical of the opposition of Alvear, whose complicity with the interests of the Buenos Aires bourgeoisie was evident, Manzi emphasised the pernicious effects of the introduction of capital foreign for the interior; According to a well-known definition of yours, “Santiago del Estero is not a poor province, but impoverished province”. Their actions earned him being expelled from the school of law.

During these years he redoubled his literary production and delved into the film. Had already set some movies, but he produced in these scripts, including several years of Gaucho nobility, Sebastian Naón – silent film of more successful in the history of Argentine cinema-, School of Champions, a man (Francisco petrone), where dying words and Rosa de América. He also adapted for the cinema, in collaboration with petit murat ulyses novel La guerra gaucha, Leopoldo lugones, Lucas demare to lead with the same name in 1942. That year he founded the Artists Argentinos partners, along with Petrone Demare, Sebastián chiola and producer García Smith, that would be one of the pillars of national cinematography.

Peronism

Horacio Salas historian to refer to the political evolution of Manzi said:

“even during the presidential campaign of 1946, Homero Manzi continued fighting in UCR and – in contradiction with their positions at the alvearismo – or even turned away when the unionist command ordered the formation of the Democratic Union.”

Just at the end of 1947 Manzi approached peronism [ 2 ] for which he was expelled from radicalism, was December 16, 1947 he pronounced a speech in prime time on Radio Belgrano in which among other concepts was “Perón as told Farías Gómez, the unfinished work of Yrigoyen. reconductor” As long as it remains this way, we will continue to believe you, we will be supportive to the cause of his revolution which is essentially our own cause. “We’re not pro-Government and opposition: we are revolutionary”.

His admiration for Perón was then reflected in his poem verses of an itinerant singer General Juan Perón

In 1948 he was elected President of the Argentina society of authors and composers, S.A.D.A.I.C. That same year he conducted Pobre mi madre querida, on own screenplay. In 1950 he repeated the last payador. By then, however, he was already seriously ill with cancer. Still writing, collaborating mainly with Aníbal troilo, who wrote the lyrics of “South”. Shortly before his death he composed two milongas – Milonga Perón and Milonga to avoid – to Hugo del Carril. 3 May of 1951 died in Buenos Aires.

Filmography

Director

* The last payador (1950)

* Pobre mi madre querida (1948)

Screenwriter

* Wild Pampa (1966)

* With music in the soul (1951)

* School of Champions (1950)

* The last payador (1950)

* Unknown father (1949)

* Pobre mi madre querida (1948)

* As you dreamed (1947)

* I’ll never tell you goodbye (1947)

* Rose America (1946)

* Where are dying words (1946)

* Barbaric Pampa (1945)

* Best student (1944)

* A man (1943)

* Solar eclipse (1942)

* Old piggy bank (1942)

* The path of the flames (1942)

* La guerra gaucha (1942)

* Ashes in the wind (1942)

* High Castle (1941)

* Confession (1940)

* (C) on the finger on the trigger (1940)

* Footprint (1940)

* Turbión (1938)

* Gaucho nobility (1937)

Music

* Top youth!(1971)

* High Castle (1941)

* The song you sang (1939)

* Florida caranchos (1938)

* The man born twice (1938)

* Of Barranco (1938)

* Tango! (1933)

Musical themes

* Currents… Street dreams! (1948)

* Passport to River (1948)

* Old piggy bank (1942)

* Once in the life (1941)

* The House of memory (1939)

* Behind closed doors (1938)

* Gaucho nobility (1937)

Notes

1. Salas, Horacio: Homero Manzi and his time PA. 249, Buenos Aires 2001, Javier Vergara editor isbn 950-15-2244-X

2. Salas, Horacio down. 43

3. Salas, Horacio p. 260

4. ‘ Mario Rabey: Perón held a payada by Homero Manzi».

Homero Nicolás Manzione Prestera