Marina Esther Traverso (born in Buenos Aires;) (1903 – d. March 18 1996 June 1) was an actress, screenwriter and comedian argentina, known with the pseudonym of niní Marshall.[ 1 ] He worked at Argentina, and also for an exile in Mexico. His most outstanding films include divorce in Montevideo (1939), Carmen (1943) and A Mexico gallega (1949).

It was called La Humor Lady and The Chaplin with skirts, and he created portraits of archetypes of immigration, especially in the characters of the Galician Candida and the parakeet Italian emblematic and unforgettable way. It was related by its comical English actor Charles chaplin.

He also designed other popular characters as Doña pola, Belarmina, Girl Jovita or Lupe.[ 4 ] Due to its notoriety in Latin America and a part of Europe, [ 5 ] got a lot of awards.[ 6 ] He started his artistic career in magazine ratings and The novel weekly during the 1930s.

At the time of his death, he had shot 37 films in all, over 30 radial units, 12 performances and television pipes and an infinite number of plays.[ 6 ] Author of his own librettos, was mainly directed by Manuel Romero.

After the revolution of the 43 it was exile in Mexico because, according to one version, the language of his characters was considered by authorities ‘a deformation of the language’;[ 4 ] and in 1950 due to lack of work.[ 6 ] In 1989 was designated «Illustrious citizen of Buenos Aires city».[ 4 ] He used the cartoon as a resource of observation and was one of the most appreciated entertainment figures of Argentina.

Childhood and youth

Marina Esther Traverso – later known under the pseudonym Niní Marshall – was born on 1 June 1903 in Buenos Aires of seahorses.[ 8 ] Asturian, her mother daughter was Mary Angela Pérez and his father engineer Pedro Traverso.[ 4 ] After two months of his birth his father died and left four children in the care of his wife, while two others died of diphtheria when Marina was born.[ 2 ] [ 2 ] Where he lived part of his childhood moved Street defense 219, San Telmo, after this event occur.[ 9 ] It was inscribed in the four years of age in the Juan José Paso school, where he demonstrated his interest in acting and a year later he sang in the Centre of Asturias.

Six moved with his family to Barrio Norte, where he studied Spanish dances [ 4 ] singing and languages such as French, German and English. He led a gang of children called Arribeños North, making theatre in the basement of the House of his uncle as a means of entertainment.[ 2 ] After performing primary school, he studied at the national Lyceum of young ladies, [ 2 ] where already began designing his characters imitating his teachers to make people laugh his companions. In this institution he received from bachiller.

After the secondary and interrupting his studies in philosophy, married in 1924 Felipe Edelmann, [ 2 ] a much older than her Russian-born engineer and educated at Germany.[ 10 ] He had a daughter: Angeles Edelmann.[ 11 ] Marina lived in La Pampa province and returned to Buenos Aires he born his daughter but when arriving they attached housing.[ 11 ] The happen the death of her mother began having problems with her husband, who broke up he had addiction to play in casinos and even lost all their money.[ 12 ] Temporarily living in the House of his white sister in Rosario he returned with his daughter to Buenos Aires to install in a pension and looking for work in the print media.[ 2 ]


Thanks to the father of a friend, started in 1933 in The novel weekly magazine writing an article for the General Electric Company.[ 2 ] [ 13 ] Then, he continued in tune (1933-34), [ 4 ] a most important magazines of the time along with antenna and Maribel. There, in the section who titled «Alfilerazos», was responsible the wording of articles on current affairs, which were often written with notes critical and humorous, and where he used the pseudonym Mitzy.[ 2 ] Being known for its gracious news and having taken classes of singing in her childhood, debuted as a singer in 1934 in the radial cycle La Voz del Aire, [ 2 ] remaining for eight months. In turn he interwove on other radio stations like Radio culture, Paris, Buenos Aires and mainly LR3 (then called Radio belgrano from 1935), [ 14 ] where she sang in several languages. He also joined the casts of National Radio and Radio Phoenix.[ 2 ] In these, she worked with the pseudonym of Yvonne D’Arcy.[ 15 ] For its part, Pipita Cano, who was driving the cycle Pipita chalet by Broadcasting Municipal [ 2 ] offered play Candida in your program when Niní did an imitation of Francisca Pérez, [ 11 ] the employee at his house from 1910.[ 2 ] At the same time he was writing the librettos.[ 16 ] In 1936 he debuted as international singer (by speaking in many languages) in Radio Municipal, [ 4 ] where he met Marcelo Salcedo, a Paraguayan counter of a wood company which he married shortly thereafter.[ 10 ] It was then called to promote a brand of SOAP of a businessman in Juan Carlos thorry cycle.[ 16 ] In the renowned Radio splendid made one of their early gigs entitled the Pan Am circus (1936), next to Carmen Valdés.[ 16 ] A year later, he shared the poster with Paquito busts and Julio Bianquet Radio El Mundo with the staging of Timothy Carquejilla of 1937.[ 16 ] On the same station, he also ventured into a programme presented by piety and stores products Llauró where he represented various characters.[ 16 ] His performances in the radio were always accompanied by Juan Carlos Thorry, with whom he worked assiduously in the national show.

Marily Contreras author recounted on Candida in one of his books: ‘ A woman ignorant, naive and clumsy, but querible, and produced a huge share of tenderness, among listeners of Niní for the background of goodness which emanated the character ‘. About the actress said: “.. .no was formed to interpret different characters, but it also gave them soul on his libretti, rigorous, accurate, which never lowered to rude joke or clarified the impudence to laughter».

“My specialty was somewhat take the hair radio people.” He had a humor page in my charge, where did my comments illustrated with my own monkeys, because also I advocate drawing. I was going was watching, wrote and drew. ‘This approach, most classes of singing that had been taken from girl, allowed me to start my career as a singer’.

Niní Marshall.

His stage name final form designed with Salcedo. His surname was made by the first syllable of the name and the surname of her husband (Mar-Sal) and added a ‘h’ to be Marshall.[ 15 ] Such as name, chose a Navy deformation: Nina→Ninita→Niní.[ 2 ] In spite of what several stations where he shared poster with incarnation Fernández, Pablo sticks or Delfina sources, it was announced as Lily Marshall, Marshall Niní or Niní Marshal due to the difficulty that caused them to compose their user ID.[ 16 ] In 1937, being convened by the world, he impersonated the Galician Candida. Months later, noting the women who came up to ask autographs to Juan Carlos Thorry arose parakeet, [ 4 ] which became their most successful and popular characters together with Candida. At the end of the 1930s, Roberto Llauró, the business owner of the popular soaps wearing his surname, hired it to perform to a maid (which had already submitted in the Pipita chalet) at a hearing of the Orchestra Francisco canaro again presented by Juan Carlos Thorry.


mirtha legrand Niní Marshall and Silvia legrand should educate Niní (1940).

Between different activities exerted Niní were the painter, [ 4 ] writer, singer and actress. With resounding success on the radial medium was convened in 1938 to film, and although she rejected the proposal because, as he confessed, “I didn’t face film and fear to disappoint people’, [ 2 ] accepted. Directed by Manuel Romero and under the auspices of the film production company Lumiton starred in women working, [ 19 ] successful film where he wrote Catherine parakeet Pizzafrola Langanuzzo [ 8 ] a selling shop that committing mistakes frequently. In the film included actors such as Mecha Ortiz, Pepita Serrador, Sabina Olmos, Alita Román, Alicia barrié and Tito lusiardo.[ 2 ] Writer Camilo Sanchez wrote: «Niní dared to show another one the wink: to provocative Niní, cunningly polemic. ” And it should be noted that it was righteous in his repertoire. «All those creatures speak of an immortality: style marshallesco which still spoken in many schools of theatre “.

In 1939, hired again by Lumiton, starred in divorce in Montevideo composing to parakeet in the company of Enrique Serrano and directed by Manuel Romero.[ 16 ] There, to deviate from his girlfriend smug boy marries a manicure by agreeing to divorce months later. The treatment takes place but the youth understands she fell for his ex-wife and seeks it to marry again. Meanwhile parakeet, friend of the woman will marry a husband’s Companion: a stubborn Bachelor.[ 20 ] The film premiered at the Monumental cinema mid-year.[ 16 ] That same year presented his character Candida in a film with the same name.[ 5 ] There, apart from Act next to Juan Carlos Thorry designed scripts. This time his character just arrived in Galicia, resides in the House of a widow/widower lawyer to care for their children. Then meet Jesus, with whom he maintained a relationship. Counsel, for its part, meets a woman interested in his fortune that leaves him into bankruptcy, but Candida lends money so that you can recover the situation.[ 21 ] Presented for the role of casting extras (formerly called tests) included zully Moreno and Pepe biondi.

Wedding in Buenos Aires debuted with 87 minutes in 1940. The protagonists were Niní Marshall, Sabina Olmos and Henry Serrano.[ 16 ] The plot of the successful film was based on the infidelities and it was one of the best works of director Manuel Romero.[ 22 ] That same year he became filming four consecutive films.[ 16 ] Candida jealousy was a modest success and together with Bayón Luis Herrera director, actress combined dialogues. Finally forming the Marshall-Codecá duo, the subject of jealousy of Candida referred to a couple who honeymoon they were acquiring a significant sum of money in a casino and residing in a pension of Buenos Aires.[ 21 ] It we must educate Niní, 1940, was the acting debut of two twins who would be highly recognized: Mirtha and Silvia legrand (extras).[ 16 ] Marshall wrote a girl who was in a school and intercedía in trouble or not studying the lessons there.[ 9 ] Under orders from Luis César amadori, was a Argentina sono film production.[ 16 ] The cast were Francisco Álvarez, Mecha López, nury montsé, among others. At the end of year appeared honeymoon in Rio: striking title accompanied Tito lusiardo comedy directed by Romero, who had also made the scripts.[ 16 ] In 1941 and Lumiton he shot then I want to be grisaux, music boxes and Ricardo Conord scenery. Film critics called it ‘a good comic tape’.

«With laughter, I also I forget my pains were a few but they were not realized, and also launched my deep fears far away and it is as if the public we had played together to ward off fierce wolves.» “He gave result because we forget about them and we are all well.”

Niní Marshall.

The poet and Horacio Salas, said to give the title of illustrious citizen: «One of his movies called should educate Niní.» But Niní is who educates us 50 years ago.[ 6 ] María Elena Walsh, explained that “only a prodigious command of the language allowed Niní descalabrar so, cross-dressing it and release it to the ephemeral ether waves’.

He continued acting in radio, did it only sporadically. Later emphasized in films like young ladies Orchestra, Argentina sono film, where one of their owners, Luis César amadori, directed the film. Millionaire Candida, [ 16 ] scripted by Peter e. peak and based on the story of love and close our eyes It was released in late September of 1941 at the Monumental cinema.[ 24 ] In 1943 with a relevant popularity, he appeared in a new project of the composer and director Enrique Santos discépolo, entitled Candida, the woman of the year, which was the biggest failure in the career of the actress.

Abel guest writer commented on one of his books: «we must educate Niní (1940), Orchestra of young ladies (1941), the liar (1942), and La mujer sin cabeza (1947), provide a seductive picture of dream on the basis of the mechanism of the deception so expensive entertainment proposed by Amadori

Madame Sans-Gêne, comic history of Napoleon Bonaparte, Wagtail became the most expensive movie Argentine then with Raúl soldi backgrounds and Herminia Franco and Ortega delfy performance.[ 16 ] Carmen made an unforgettable performance of the Opera by Georges bizet, [ 26 ] and women dancing a famous parody of the death of the Swan. Its period of greatest creative fulfillment occurred from 1940 to 1956 with the trilogy wedding in Buenos Aires, River honeymoon and divorce in Montevideo.[ 27 ] He received much recognition and support of the press should be educating Niní; Santa Candida with Adolfo linvel; Orchestra of young ladies and parakeet is a lady.[ 16 ] He participated in 28 Argentine writer, interpreter and dialoguista films being one of the most important figures of Argentine cinema in its “golden era” alongside mirtha legrand Libertad lamarque, zully Moreno, Mecha Ortiz, Delia garcés, Amelia bence and Tita merello.

Historian Pacho O’Donnell said: «Niní marked the era family gathered to listen to their radio programs.» ‘It was extraordinary, the city stopping to hear it’.

Their roles in the next few films were as much impact as the previous ones, in dead woolly, A woman without head, Buenos Aires sings or poor Christmas.[ 16 ] He resumed work with Manuel Romero in 1948 when he worked in the film heart Porteña by Augusto codecá, whose scenery happened mostly in a hospital. His radio broadcasts to Juan Carlos Thorry reached high levels of audience during the 1950s and 1960s.[ 16 ]


Niní Marshall characterized as a student was there to educate Niní (1940), where he shared with Paul sticks and nury montsé poster.For two years (1937-39), seconded by Tony Rocca, he was involved in theater tours of the cities of the greater Buenos Aires and other neighborhoods alternating genres like jazz with musical themes and Thorry.[ 16 ] Both traveled to Santa Fe, Paraná, Mendoza, Rafaela, Rosario, Córdoba, Tandil and San Juan. In 1941, in the company of Pedro quartucci, he undertook a tour of Chile and Peru.[ 16 ] With a cast that included elina colomer and Felisa mary, A mess of millions with Antonio comma address they premiered in Teatro Astral in 1946.[ 16 ] Stars Carrousel and Pepe returned with music he had the opportunity to act by Pepe Arias and design the scripts with Leon Alberti address.[ 16 ] Again with Quartucci, in 1949 he traveled to the United States with your company to present a show in New York City Theater Puerto Rico.

Buenos Aires from silk and percale, one of his few works with mirtha legrand, premiered in 1963 in the Teatro Coliseo and direction of Carlos a. Petit and Mariano Mores and The Mrs beard blue, at Teatro Buenos Aires production and Carmelo Santiago company.[ 16 ] Two years later, and one of the main spas centers filed scandal in Mar del Plata (1965), in the current Neptune Theatre.[ 16 ] Among other theatrical performances are you that you have, look! (1965), Memory of old Buenos Aires (1969); Coqueluche (1971) with thelma biral;[ 4 ] The small illustrated Marshall-Luz (1976), Jorge light; A night on the radio, presented at several sites in Buenos Aires being carried many genres, [ 16 ] until 1981 when he starred in his last theatrical show with who turned off the radio?, Jorge light again.[ 30 ] [ 31 ] However the frequency of his works had decreased since 1976, when he suffered an aneurysm. In 1979 she intervened surgically urgency by biliary attack.

His talent for playing the traits of different social sectors and communities speaking was a contribution not only to the humor but also for philological research, [ 4 ] and the University of La Plata recorded the language of their characters for this purpose.[ 4 ] [ 11 ] Since the 1960s it was headed by performances with alluring and disparate titles attracted to the public. It was one of the precursors of the café-concert with Carlos Perciavalle, with whom he appeared in the latest version of A night on the radio, with seasons in Mar del Plata.

Claudio Spain, film critic said: “Parakeet was chatterbox, arribista, pre-announcement, convinced of what he says and how says.” ‘For her, the world that faces is upside down.'[ 6 ] Dora Cerati, compiled into half a dozen historic CD programs radio, he said: «how adult Mafalda Niní brought to light a social class relegated to which made him say or ridicule snobbish, superfluous, but no profanity, no profanity, no cheap shots ‘.

Exile and return

In 1943 Radio Splendid hired by a substantial sum of money;[ 2 ] but barely a month later and due to a campaign in the area of the President de facto Pedro Pablo Ramírez to preserve the language was banned and registered in the «black list» prohibiting him well his work in radio.[ 2 ] From the Radiocommunication Bureau sent a communique which stated that the prohibition had been carried out “because its characters deformed language to the Argentine people, [ 12 ] [ 2 ] has no ability to discern”.[ 6 ] Due to this reason, in the same year exile in Mexico.[ 2 ] Other similar episodes have been actresses such as Libertad lamarque and Louise Vehil.

In 1944 an earthquake produced several damage in San Juan and there were about 10,000 victims.[ 12 ] As other nationalist group of officers (GOU) military, Juan Domingo Perón belonged to the President’s Cabinet de facto Pedro Pablo Ramírez to serve as Secretary of labour and Secretary of war.[ 12 ] The tragedy Perón headed a call addressed to figures known as Libertad lamarque, mirtha legrand, Mecha Ortiz, silvana roth and Niní, among others, those who collaborated by donating money. Marshall gave 4964 Argentine pesos.

Juan Duarte.

In 1950 was censored for the second time when Angel Mentasti of Sono Film aired that all projects should cancel it by an order of Eva Perón, at that then first lady. Due to that he directed at Government House to demand an explanation, but the Assistant Juan Duarte, former President Juan Domingo Perón, Secretary told: “Madam, said Mr Duarte you agreed when in a party of tried, dressed as a prostitute, he imitated his sister Eva, as recounted in his memoir.

“It was in Montevideo when died Eva Perón”. I will never forget that day. A friend called me on the phone, she was exiled like me. Just told me: ‘Died’. I felt penalty. Not I cried, but strangely, I hurt his death, the death of a woman young and vital, above his politics and what I did…My daughter visited me a few times, I suffered much from the distance. «About everything when I learned I was girlfriend and felt marriage’.

Niní Marshall.

Prevents in 1947.

Above all artistic project which included had been vetoed by broadcasting since 1943. He had also participated in company magazine Pepe Arias, several films and presentations in Montevideo. Returning from a long tour should leave again the country because of lack of work, so in 1950 made another exile to Mexico. Respectively Fanny Navarro, partner of Niní in female dancing (1949) which had witnessed the feast [ 2 ] would have told him the fact of the imitation Juan Duarte, [ 6 ] with who had much affinity and even said that they were in couple.[ 12 ] Other versions expressed Eva had been bothered by his role in Madame Sans-Gêne (1945) and had her resentment by a central space in radio and to avoid thought get.[ 33 ] Advised by his friends left him some goods for his family to sell his house in Punta del Este, an oath Street apartment building and its fifth Moreno.

To rent a Department temporarily lived in the Latin American House, a complex where resided all Argentines who were there, [ 2 ] as Hugo del Carril, Empire Argentina or Ana Maria Lynch.[ 12 ] That site was as neighboring Libertad lamarque and her husband, the musician Alfredo Malerba, who was a friend. After death of Eva Perón in 1952 he returned two years later by the marriage of his daughter and the birth of her grandchild in 1955.

In Mexico, it was his best movie time continued his career by painting and acting in films as A Galician in Mexico, a family comedy A Galician dance mambo, company Filmex; My champion, Chano Urueta; Love of madness, with Oscar Pulido; A Galician in Havana, a Mexican-Cuban production [ 34 ] etc. and led several radial cycles particularly in Carve Radio in Montevideo. In 1956 after the fall of peronism, he returned to the country with her third husband Carmelo Santiago and was called by Julio saraceni to film parakeet is a lady, hyphenated Abel Santa Cruz Argentina Sono Film label.[ 16 ] With journalist Carmelo Santiago 16 years he lived until 1968;[ 32 ] he had become their representative and had rejected him several jobs as of thematic spicy: one of them was the cicada isn’t a bug in the company of Luis sandrini, where his role was replaced by María antinea.[ 10 ] While Carmelo produced several television cycles met another woman, reason for which Niní broke and decided to “put an end to her sentimental life», as he said.

In 1957 he debuted on television with philco music Hall by channel 7.[ 16 ] In 1958 he conducted his own show that bore his name and in 1960 topped those Niní things. At the same time continued with the presentation of radio programs on various stations, where your most frequent coworker was Juan Carlos Thorry.

Inspiration for his characters

Stressed creating characters that portrayed Argentine idiosyncrasy and the Archetypes of immigration from Spain (Galician Candida), Italy (parakeet or Catherine Pizzafruola Langanuzzo) or Eastern European (Doña pola).[ 35 ] Also created Belarmina, the aristocratic Mingo (brother of parakeet), the eternal spinster Girl Jovita, Doña Catherine, gladys Minerva pedantoni, know-it-all, Don Cosme, Loli, the maid Monica Bedoya Hueyo of peaks Pardo Sunsuet Crostón, among others.[ 25 ] [ 36 ] Mexico designed characters as Miss Barbara Mc Adam, product of its attention to tourists dressed in bright colours and spent its money in Acapulco; and Lupe, the suffering Mexican wife of a drunken inveterate called Margarito that made it work to keep it.

“I think my characters watching people, paying attention to minor defects that can cause laughter.” I am going to the hairdresser, for example and stop ear to see you talk customers. That is incredible what can there women: they are in dryers and as the apparatus cover them the ears and makes noise, should shout to be heard. Screaming they have life and miracles of the neighborhood. In general, I caricaturizo what they say, but sometimes or need me load colors, same in public transport: usually not traveled in bus because I recognize, and I look, and that makes me very nervous; but I put sometimes dark sunglasses and I give a spin to listen to the people. Prying that seems to lie. Other very juicy is placita Vicente Lopez which is opposite to my house; «There spy to the mucamitas with their boyfriends and I get expressions, sayings and situations with only repeat causing grace ‘.

Niní Marshall.

Last stage

Carmel Santiago was very important for his artistic career. He was producer of his wife in two music hall shows those who traveled Mexico, Cuba, Dominican Republic, Puerto Rico, Colombia, Peru, Chile, Uruguay, with Spain, Barcelona and Madrid.[ 10 ] Four films, both with a large production prepared four theatrical seasons in Buenos Aires, a tour of Latin America, five cycles radio and television and a large number of sketches.

«I say me that am no artist, but a Lady of his house was, simply, make la graciosa».

Niní Marshall.

In 1962, contacting children edited a disc with themes for children entitled Niní Marshall for kids. With their arrival in the Argentina began to popularize again to his characters that had been partially forgotten by the people, and in 1964 debuted in medium broadcast with things MOM and dad, [ 19 ] by Channel 9, where to act together to Raymond Pastore did the adaptation of the story. Julio Saraceni re-released it to Argentine film with a film noted for costumes: Cleopatra was Candida (1964), [ 10 ] with libretti Abel Santa Cruz and the special participation of Juan verdaguer, Tito lusiardo and Vicente rubino. Argentina sono film film arises a problem when a man marries a woman who works in a nightclub but her daughter wants to marry her aunt, so everything is complicated by the advance of the film.[ 16 ]

Niní Marshall in 1983.

«Do not believe I stopped being shy, I believe that I am so shy that my characters I invented to hide them.» For example, shyness me his when he had to teach a lesson or communicate stand to say something to a teacher or a teacher. But when he finished the class time was a monigote as I am now a clown. I was not very good student. «Truth that not! “.

Niní Marshall.

In 1967 you could see on the successful program Sábados circulares, [ 38 ] of Nicholas Pipo Mancera, [ 2 ] to be for 30 consecutive minutes without commercial by his interpretation of Belarmina, one of his beloved characters.[ 10 ] Composing Loli that same year made his first film intervention in colors in scandal in the family, [ 10 ] with direction and screenplay by Julio porter featuring a large cast of comedians met Fidel Pintos, Alberto Olmedo, Juan Carlos altavista, Carlos carella and Carlos Scazziotta.[ 10 ] Designed by Channel 9 history and characters of Teatralerías, one of the most important cycles where he and attended by a high level of audience. With productions García Nacson he appeared with Leo Dan in the novel of a young poor.[ 39 ] In spite of his retirement from the show have anticipated, not you realized it that three years later, in 1971, and under the command of director Enrique Carreras fulfilled his penultimate film work on we are going to love dream, which included genres such as romance, comedy and musical.

In the 70’s was presented at the café-concert El Gallo Cojo, San Telmo, [ 2 ] in a one-man show of dark humor that combined his greatest entitled creations and we went… redepente!, [ 4 ] that reached more than 1500 scenic presentation.[ 2 ] In 1979 he was brought to television and a drive to Niní as the author, which was presented at Teatro La Capilla, Suipacha Street was released in 1986.[ 41 ] 74 Years old and have starred Niní Marshall humor by scripts at the same time and popularized the phrase ‘Analfabestia’, [ 10 ] introduced in the language of the Argentine people for a long time. His latest film was in 1980 in what linda is my family!.[ 2 ] Here he composed Rosita and performed alongside Palito Ortega and Luis sandrini, who died before the premiere. In this decade made his final appearances on television and in early 1980 accompanied his linen Patalano Manager on a tour of Rosario.[ 29 ] That year the Cinema Museum gave camera Pathé Tita merello, Delia garcés, Libertad lamarque and Mecha Ortiz, in recognition the first figures of the national cinema.[ 26 ] With the stellar leadership of Antonio Carrizo was presented alongside nelly láinez at Juntos, cycle issued during 1982 and there developed modified their finest creations.[ 16 ]

Last years

Marshall received the Konex Platinum Award in 1981.

In 1985 he published his autobiographical book entitled my memories (Ed. Moreno), [ 30 ] where told anecdotes, his best libretti and his biography. In 1988 retired from the show on television program World Antonio Gasalla, [ 2 ] composing Doña caterina 85.[ 16 ] Honored with a lot of honors and distinctions in the same year it was at in the cycle of great comedians at Eduardo bergara leumann; Botica de Tango and in 1989 he was a special Festival production “women and the cinema”.[ 16 ] That same year was declared “Citizens illustrious Buenos Aires city» in Municipal Teatro General San Martín.[ 4 ] [ 30 ] In 1990 won Santa Clara of Assisi and in 1992, at the initiative of Argentina actors Association (AAA), mirtha legrand and Pinky (host of the ceremony) awarded Prix Podestá achievement.[ 4 ] Applauded standing by all present, she ascended accompanied by his daughter Angelita receive the honor. In March of that year had been placed in intensive care for ten days and feared for his life.[ 16 ] But graphics media then reported that it was already restored and even he had chaired a Chico novarro and Andrea Tenuta show.[ 42 ] Since 1988 it was based on a continuous Department to his daughter and in 1991 leased his old home.

‘ No one can imagine the good person that I am ‘

Niní Marshall for people and the present day, 1993

Was it you often see only a few times at important festivals or tributes very worse. 91 Years gave an interview with Flax Patalano people, general interest magazine [ 23 ] and a year later was seen publicly witnessing two shows which starred marilú marini Theatre Maipo and Lola Membrives recreating characters who had made famous comic old woman: mortadella and Niní, [ 15 ] [ 4 ] released a year earlier at the outside. At the same time, in December 1995, with great difficulties to be mobilized and thrilled he accompanied his friend Libertad Lamarque when they named ‘Personality Emerita of the Argentina culture’ at the Teatro Nacional Cervantes.


In January of 1996 was admitted to the clinic Bazterrica [ 43 ] in the neighbourhood of Recoleta by breathing source problems and severe dehydration which was not recovered and died at age 92 18 March of that year at 11: 05 pm a cardiac.[ 29 ] His remains were mourned drawer closed at the Teatro Nacional Cervantes ardent chapel from 5 pm to 10 am the next day, [ 29 ] where artists, fans and family was dismissed from the actress. His remains were moved to the cemetery of olive trees, [ 44 ] where were buried before a large crowd which accompanied the coffin headed by his daughter, Juan Carlos Abregó son-in-law and grandchildren.

Personalities who were firing it to theater included lydia lamaison, China Zorrilla, Georgina barbarossa, Gabriela acher, Nora cárpena, Ana María picchio, Jorge guinzburg, Luis brandoni, Jorge light, Marcos zucker, Amelia bence, palito Ortega, etc. [ 29 ] also floral offerings mirtha legrand and his sons Marcela and Daniel Tinayre, former President of the Argentina nation sent Carlos menem, Enrique pinti, Pinky, Susana Giménez, ex-intendente Jorge Domínguez and Antonio gasalla.[ 29 ] His death occurred a month later and the of popular comedian Tato Bores, meant one the most important events of the year in the country according to the book “La Nacion: testimony of three centuries», 2005.

Teatro Nacional Cervantes, where the comedian was veiled.

‘There are almost no women comedians, it must be because without humor. About the humor I cannot think any speeches. I came with humor and that’s all…For me the joke is true when it is born from a character…I prefer more comfortable: remember. One remembers what is made. Quietita as I tend to be, remember me agita less…Ay, in the street I shout everything. There are people that I shouts «idola!». «Do Idola I chiquita as I am? ‘.

Niní Marshall.

2003 Marked the centenary of his birth and several homages were to honor deceased actress. 2005 Released film Niní in homage to it.[ 45 ] Contains testimonies, his career and was led by Raúl Etchelet, who published a biographical book about Niní.[ 45 ] The House where he lived his childhood and adolescence is currently home to the Museum of the city and in various institutions of Buenos Aires continue projecting films by the artist.

Together with the Director movie María Luisa bemberg and actress Ana María campoy, are few personalities who own a room named after her.[ 10 ] The Museum city of the film Paul C. Ducrós Hicken, is a large room named Marshall Niní, varied in their content. There are posters, photographs, paintings, wigs, costumes, hats, cameras and film elements used ever in movies starring it.[ 10 ] There are also some personal belongings of the actress. The institution is located in Buenos Aires of eleven.[ 10 ] At the same time a Puerto Madero Street bears his name, chosen by popular vote.[ 46 ] His nieces, grandchildren are the Antonella coast the deceased author and Susana Degoy; his grandson Carlos Gamallo appeared in six films, and his daughter is a retired English teacher. Her other grandchildren are marine and Eduardo.

His characters

The constant g by j phrases spoken by some of his creations was something classic and common in them. Their characters were some stereotypes of the inhabitants who were based in the Argentina in the first decades of the Twentieth century as they were immigrants, among others. When Niní Marshall asked as it created the characters she responded it was just matter of observe and hear

* Catherine “Parakeet” Pizzafrola Langanuzzo: Italian name was gossip impenitent. Their classic costume included roller and never saw anything good in people who were present with it. I used to talk a long time making those lectures excellent monologues.

* Candida Loureiro Raballada: Humble and exaggerated, were Spanish. Serving as employed domestic and always defended morality, relating to solidarity and justice.

* Doña Pola: A nice old Jewish. «3 Hemispheres» store owner was and took advantage of every opportunity to advertise your local.

* Monica Bedoya Grizzly peaks Hueyo Sunsuet Crostón: Unbearable woman full of idioms and aristocratic customs. Represents the women of good economic conditions residing in Barrio Norte or wish to belong to the upper-class society. It incorporated new codes to argentina as ‘podéme’ or ‘tarúpido’ speech and expressing phonemes such as “sad” and “its”.

* Belarmina Cueio: Provincial girl and Girl Jovita employed domestic. Liar, somewhat clumsy and often scolded by his boss, sometimes physically punished it. Obligations of shelter and care for your Parrot conformed its occupation. This character, Niní said: ‘arose in my mind over the years in which I was living in the interior’.

* Jovita girl and Parrot Romeo: He always kept his desire to associate with a gentleman who fell in love with «his naive old lady heart». According to the Marshall, it arose from the observation of friendly single women of her aunt.

* Gladys Minerva Pedantoni: She was a scholar of the class student. Self-assured vain he regaled gifts to their teachers and was the center of teasing from peers.

* Doña Caterina Gambastorta Langanuzzo: Grandmother of ninety years parakeet. In spite of having been long Argentina retaining his Italian accent.

* Don Cosme: An Italian hoarse voice, paper left on the advice of his speech.

* Lupe: A Mexican woman suffered and in love with her husband Margarito, drunk and lazy that forced it to work.

* The beautiful Loli: Varieté old-fashioned actress.

* Giovannina Regadiera: Re-creation of an Italian soprano.

* Fruelain Frida: A German a Dachshund dog owner.

* Mingo: The mischievous boy in the neighborhood. He was the brother of parakeet.

* Miss Mc Adam: Also called Barbara Mc Adam, it was a refined British lady considered a lady who was visiting Mexico dresses and extravagant hats. Their phrase was very popular: Beatiful!

* The Loli: A blind Spanish cupletista.


Filmography on Argentina

* What linda is my family! (1980)

* We are going to love dream (1971)

* The novel of a young poor (1968)

* The people have already Commissioner (1967)

* Scandal in the family (1967)

* Cleopatra was Candida (1964)

* Parakeet is a lady (1956)

* Women dancing (1949)

* Heart porteña (1948)

* The poor Christmas (1947)

* Buenos Aires sings (1947)

* A woman without head (1947)

* Dead woolly (1946)

* Santa Candida (1945)

* Madame Sans-Gêne (1945)

* Carmen (1943)

* Candida, the woman of the year (1943)

* The liar (1942)

* Millionaire Candida (1941)

* Orchestra of young ladies (1941)

* I want to be grisaux (1941)

* Honeymoon in Rio (1940)

* We must educate Niní (1940)

* The jealousy of Candida (1940)

* Wedding in Buenos Aires (1940)

* Candida (1939)

* Divorce in Montevideo (1939)

* Working women (1938)

Filmography on Mexico

* A Galician in Havana (1955)

* God the breeding (1953)

* Crazy love (1952)

* The entanglements of a Galician (1951)

* My champion (1951)

* The cheerful married (1950)

* A Galician dances mambo (1950)

* A Mexico Gallega (1949)

Filmography on Spain

I’m not Mata-Hary (1949)

Television programmes

* The world of Antonio Gasalla (1988)

* Together (1982)

* Monica and Andrew (1980)

* And we went… redepente (1979)

* In the style of Mancera (1978)

* Nini Marshall humor (1977)

* Teatralerías (1967)

* Pie Saturdays (1966-69)(1971-72)

* Things MOM and dad (1964)

* Niní stuff (1960)

* Niní Marshall (1958)

* Philco Music Hall (1957)


* Who turned off the radio? (1981)

* A night on the radio (1977)(1981)

* The small illustrated Marshall-Luz (1976)

* And us went … redepente! (1973)

* Coqueluche (1971)

* I remember the old Buenos Aires (1969)

* You that you have, look! (1965)

* Scandal in Mar del Plata (1965)

* Mrs beard blue (1963)

* Buenos Aires from silk and percale (1963)

* Things MOM and dad (1961)

* Pepe returned with music (1948)

* Stars carrousel (1948)

* A billion mess (1946)


* And us went … redepente! (1986)

* Niní Marshall for children (1961)

Distinctions, medals, awards and tributes

* Award radio sensation (1937)

* Prize ACCA as best interpreter comedienne (1945)

* Condor de Plata Award for the best comic actress (1946)

* ACDADT (1950) golden plaque

* Award for best actress of Mexico (1951)

* Prize ACDADI (1956)

* Award for the best actress comedy of Argentine cinema (1956)

* Gold Medal of ALPI (1959)

* Medal of the Israelite Argentina Association (1960)

* Award for best actress for theatre in Mexico (1961)

* Award selection best album for children (1962)

* Gold circular (1965)

* Brazil Silver Cup (1966)

* Gold Medal of hate (1966)

* Golden mast (1966)

* Declared “figure, Argentine cinema pioneer” by ACCA (1967)

* Testimony of honor for best female performance on Show (1967)

* Leo (1968) award

* Gold Medal (1968)

* Award Gold (1968) 9

* Award Gold (1969) 9

* Prize Karamba (1971)

* Golden anchor (1972)

* Prize San Gabriel (1973)

* Witch (1973) Gold Award

* Gold Star (1974)

* Golden rooster lame (1974)

* Prize Bamba (1974)

* Gold magazine report (1975)

* Golden Sun (1975)

* Prize Martín Fierro (1975)

* Prize audience gold Palm (1977)

* Award for best female performance at Cafe Concert (1978)

* Recognition of “the artist of all time” (1978)

* Prize Martín Fierro (1979)

* Award silver Esquiú (1979) cross

* Recognition in the Museum city of the film Paul Ducrós Hicken (1980)

* Prize Konex Platinum (1981)

* Special distinction of ACCA for his contribution to the Argentine cinema (1983)

* Distinction silver Obelisco (1983)

* Glories distinction of national culture (1984)

* Tribute to the Teatro Nacional Cervantes (1988)

* Tribute to La Botica del Tango (1988)

* Tribute to the women’s Festival and cinema (1989)

* Declared citizen bar of the city of Buenos Aires (1989)    * Prize Martín Fierro in recognition of the artistic development (1989)

* Award Santa Clara of Assisi (1990)

* Award Podestá artistic (1992)

* Prize of the Foundation Elena B. D’Anna (1994)

Further reading

* Etchelet, Raúl (2005). «3». Niní Marshall . Biography. The aisle. pp. 45 ISBN 987-1004-55-9. «Where Niní is lost in the corridors of Radio El Mundo, they find and becomes star of radio, slum tours, Corrientes Street reaches and is Radial sensation of the year, or simply as parakeet said: «As nights ‘, and stayed for siempre.»»

* Guest, Abel (1993). “1”. Niní Marshall: from a distant yesterday. Colihue. pp. 10 ISBN 950-581-242-6. «…”Marshall Rose category concerning consumption and was finally accepted by the public sophisticated thanks to perseverance…”

* Contreras, Marily (2003). “1”. Niní Marshall: humor as refuge. Zorzal’s books. pp. 13 ISBN 987-1081-20-0. “Niní was a large, comprehensive artist was not formed to play different characters that also gave them soul on his libretti, rigorous, accurate, which never lowered to rude joke or clarified the impudence to achieve the carcajada.»”

* Roman, Nestor (2001). «3». Tells me. Tita Merello life. South American. pp. 39 ISBN 950-07-1949-5. “Then (Tita Merello) made of Antony and Cleopatra intimate life, with the Cuban María Antonieta Pons, a satire in the style of Cantinflas made with the three Musketeers and Niní Marshall in Carmen.”