Julio saraceni was a screenwriter and film director Argentine who was born in Buenos Aires Argentina 10 October of 1912 and died in the same city on 12 October 1998.

Professional career

Julio Saraceni began its relationship with the cinema with the scenery in 1937 for the wooden virgencita film directed by Sebastian M. Naón, the same year he directed the secret sauce of medium and debuted as a director in the following year with Carnival night which sought to become a vehicle for the popularity of Florencio parravicini. Then came Intrusa Olga Casares pearson and Angel Walk, two star radio.

In 1947 he conducted the mystery of the yellow room, on the famous novel police French Gaston Leroux, with the participation of stars of the era: Santiago Gómez cou with her magnificent voice baritone; Herminia Franco, in possession of a bewildering beauty matures; Tito Alonso, convincing in his role as young journalist adventurer; florén delbene, Adolfo stray and Immediately Finch.

He directed many popular figures: mirtha legrand María Celeste (1945), Fidel Pintos in beautiful Brummel (1951), The five good great Humor in summer in Mar del Plata in 1954, the worst neighborhood in 1955) and the nutty satellite in 1956), niní Marshall parakeet is a lady in 1956 and Cleopatra was Candida in 1964, José marrone in Columbus at the Faculty of medicine in 1962 and Alias fringe in 1963, Carlos balá Canute Cañete, 7 conscript in 1963, Pepe biondi at Patapúfete in 1967 and Sandro in the desire to live in 1971. Saraceni also knew how to take advantage of some great singers who had already acted in film and managed successful popular as in the case of Alberto Castillo, in his first huge event, the corner bar (1950) and Lolita Torres, in the best of College (1953). His last film was the superagents against the ghosts of 1982 and then devoted to producing programs for channels 9 and 11 and filming documentaries.


Alfredo Grassi July critic, Julio Saraceni was “a man representing the average Argentine, which proved to be able to step through a film without worrying about the difference in genres and themes, limited resources, lack of understanding of critique… happy to be express with the universal language of a national cinema ordinary, seeking his way, unpretentious thinker intellectual, but able to thrill and entertain the masses of simple lovers of that time with their versions of famous popular works.”[ 1 ]

Grassi remembers him as a human being very querible, who always spoke with moderate tone showed full consideration, smiling, friendly, with unchanged good character, sense of humor and a spontaneous smile flower lips went through every genre possible with couple professional solvency and summarizes: “it was not a genius, but he knew how to do well the things from light to drama comedy, romantic history and parody.”

Published newspaper La Nación on his death note says Saraceni “was man of industry, skilled in handling the actors and dexterous to discover the contact point between the star and the site where the public wanted to see it.” He alternated his career working with large and small, who carried popularidad… Heights was master at the booths and therefore trusted to producers, for those who worked without distinction or exhaustion… “In his work he was careful and subtle, he articulated as the old architects direct and clear, storytelling through an invisible mounting and handling of the planes where the actor was always the best.

His death

Julio Saraceni died in Buenos Aires 12 October 1998. He was suffering from a ten years before a stroke and July 18, 1994 was one of those affected by the explosion of AMIA, which lived on the Viamonte Street just 50 metres. He lived his last years almost in destitution, aided by a grant from the National Institute of film and media arts, forgotten by nearly everyone and saddened by the death of Argentina mori, his wife and Assistant Director in most of his films, which occurred two years before yours.



* Superagents against the ghosts (1982)

* Buenos Aires tango (1982)

* Alejandra mon amour (1979)

* Nuclear Duckburg (1978)

* The Overture (1977)

* I need you so much, love (1976)

* Carmiña: Your love story (1975)

* Rolando Rivas, taxi driver (1974)

* Back in the North (1973)

* The will to live (1973)

* Again I live, I return to sing (1971)

* Young widow and estanciera (1970)

* The rebel novice (1968)

* Villa Cariño (1967)

* The Wolverine (1967)

* Patapúfete! (1967)

* Impatient boys (1966)

* Disloque in the presidio (1965)

* No better tonight (1965)

* Beware of queues (1964)

* Gordo Villanueva (1964)

* Cleopatra was Candida (1964)

* Canute Cañete, 7 conscript (1963)

* Alias fringe (1963)

* When the Sun heats up (1963)

* Finance magician (1962)

* Christopher Columbus in the Faculty of medicine (1962)

* Master’s in love (1961)

* The beautiful lie (1958)

* Of couplets to tango (1958)

* Marta Ferrari (1956)

* The nutty satellite (1956)

* Parakeet is a lady (1956)

* A boyfriend for Laura (1955)

* Poorer than a mouse (1955)

* The worst neighborhood (1955)

* Summer in Mar del Plata (1954)

* Age of love (1954)

* Four crazy days (1953)

* The best college (1953)

* Atomic Barbara (1952)

* The final squad (1951)

* The beautiful Brummel (1951)

* Buenos Aires, my beloved land (1951)

* The corner bar (1950)

* Bohemian soul (1949)

* Born free (1949)

* The mystery of the yellow room (1947)

* Fidalgo census summits (1947)

* The caraba (1947)

* María Celeste (1945)

* The three Musketeers (1945)

* Our Natacha (1944)

* The importance of being a thief (1944)

* The intruder (1939)

* Carnival night (1938)

* Secret formula (1937) (medium)


* The Overture (1977)

* Ladies hairdresser (1941)

* The shock that Perez took (1940)

Author of the idea

* Fate of a whim (1972)

Assistant Director

* MOM Gloria (1941)

Production designer

* Virgencita wood (1937) dir. Sebastian M. Naón