René Mugica was an actor and Argentine film director who was born on August 8 1909en Carhué, Buenos Aires province, Argentina and died in [[(Buenos_Aires)), Argentina, 3 may 1998.]] He was part of the initial team of Artists Argentinos partners and worked as assistant director to bring about in 1960 his first film was dies at dawn represented the Argentina at the Cannes International Film Festival in 1961. Best film was la esquina rosada man (1962) on the tale of the same name by Jorge Luis Borges.
He made trade union work as President of DAC (directors Argentinos Cinematográficos) and gave up was appointed Honorary President of the entity. Also director of the National Institute of cinematography.
Emilia Mugica, born in Carhué, a small town in the province of Buenos Aires next to the Lagoon Epecuén known for water thermal and located 561 km of the city of Buenos Aires and René Mugica was the son of Ernesto Pucciarelli. Along with his brothers, and by a decision of their parents because of his anarchist ideology, it was not scored in the Civil Registry until 1918 the father, reason for which he received the mother’s maiden name died.
Mugica mother was actress and used the surname Rosales in their activity. When his family moved to La Plata, he studied at the school of dramatic art of the Provincial Institute, dependent of the Teatro Argentino de La Plata and made several presentations as a stage actor times in which accompanied his mother on tours. At the same time working as inscriptor titles. In 1940 he made his debut in cinema with a small role in the film the burden of the brave, directed by Adelqui thousand which also working Eva Duarte.
In 1942 he became Artists Argentinos partners team and there began his career as Assistant Director. His first work, said proudly, had been the press a lever on a Board. He appeared in La guerra gaucha, his best student, a man, Pampa bárbara and where the words are dying while he began to learn how to Assistant and Assistant Director, working alongside Lucas demare and Carlos rinaldi, mechanisms of filming.
In 1960, with the participation of a group of friends, he formed a cooperative and made his first film as director. He dies at dawn, an adaptation of the work of the same name Agustín cuzzani who represented the Argentina at the Cannes International Film Festival in 1961.
In 1965 he shot the reñidero, adapted from the play of the same name, with Alfredo alcón Fina Basser, and Ricardo aronovich, photography on the Electra myth Sergio De cecco. In it, Mugica moving actions to a picturesque century Buenos Aires
Best film was la esquina rosada man shot in 1962 on the tale of the same name by Jorge Luis Borges. The first story Borges published became you Mugica already hyphenated armed – post the same Borges had been drafted together with Adolfo bioy Casares-. Man… is a sort of life and death of compadrito that takes place in tight clock a May 25, 1910, to honour the 100th anniversary of the revolution. and own Borges, whose disease already made her lose details, but did you not see a film, told that he liked the fact that in it the movement flow in a western movie. The characters do not stand so that they retraten them, as often happens sometimes national film
He directed under the sign of the homeland in 1971, with Ignacio Quirós in the role of Manuel belgrano, which was shot at a time (beginning of the 1970s) that historical films were in fashion.
He was President of DAC (directors Argentinos Cinematográficos) in the 1980s and at the end of the 88, when he resigned, he was appointed Honorary President by unanimously and by acclamation by their peers, and his appointment, according to a note of the entity was not a new year gift, nor an excuse so stop cinchar along with the rest, which still needs the example of his conduct and righteousness.
He was director of the National Institute of cinematography the Menem Presidency but left in less than three months for discrepancies. In an interview of long before channels to produce films in the Argentina noted television was completely detached from the film and he had to follow the example of other countries where have realized that having a film for display at cinema, then to TV, and later on video assures production some recovery of the inverted.
Mugica was also the author of books on film (in the beginning was the image, published in 1989 and defending the authorship of film-maker) and fiction (Tales of the andarín and the fifth Horseman).
He also published in the cinema which was not (1996) two hyphens remained unpublished and they saw that they were naked and where Dios.
He was brother and uncle, respectively, Alba mujica and Barbara Mújica actresses. He died after a long illness and his desire was that not so ensure – even in his home in Lavalle to 1600, in the heart of cinematic endeavor porteño-that thing cremaran and his ashes accompany his wife Rachel. As you requested, his remains are together in the Chacarita cemetery actors pantheon.
o As an actor:
* On the other side of the bridge (1953). Dir. Carlos rinaldi.
* I’ll never tell you goodbye (1947). Dir. Lucas demare.
* Where are dying words (1946). Dir. Hugo fregonese
* Barbaric Pampa (1945). Dir. Lucas demare.
* Best student (1944). Dir. Lucas demare.
* The end of the night (1944). Dir. Alberto zavalía.
* The dead missing appointment (1944). Dir. Pierre Laurentian.
* Fire on the mountain (1943). Dir. Carlos Torres rivers.
* A man (1943). Dir. Pierre Laurentian.
* Guerra Gaucha (1942). Dir. Lucas demare.
* Gaucho! (1942). Dir. Leopoldo Torres rivers.
* The cura gaucho (1941). Dir. Lucas demare.
* The burden of the brave (1940). Dir. Adelqui thousand.
* Under the sign of the motherland (1971). Ismael mountain script.
* The good life (1966). Carlos Latorre script.
* The reñidero (1965). Script of Sergio De cecco, René Mugica and Martín Rodríguez Mentasti according to the work of Sergio Cecco.
* A Midsummer night’s journey (1965) (Anton Pirulero episode). Rudolph M. Taboada script.
* The devil in the blood (1964). René Mugica script on Roa Bastos and Tomás Eloy Martínez argument.
* Eighth hell (1964). Ariel cortazzo script.
* The murga (1963). Rudolph M. Taboada script.
* Port rat (1963). René Mugica script and Isaac aisenberg on Ariel Cortazzo argument.
* La esquina rosada man (1962). Script of Joaquín Gómez bas, Carlos Aden and Isaac Aisenberg according to the eponymous story by Jorge Luis Borges.
* Dies at dawn (1961). Agustín cuzzani in his work of the same name script.
o Assistant director:
* On the other side of the bridge (1953). Dir. Carlos rinaldi.
* Rangers and thieves (1952). Dir. Carlos rinaldi.
* Frightened ghost (1951). Dir. Carlos rinaldi.
* Extra Edition (1949). Dir. Luis José moglia barth.
Awards and nominations
* Nominated for the Palme d’Or at the Cannes International Film Festival by the reñidero (1965).
* Nominated for the Palme d’Or at the Cannes Film Festival by dies at dawn (1961).
* Prize for best film in Spanish at the Festival of cinema of Mar del Plata international by the demon blood (1964).
* Honorable mention and award of the OCIC at the San Sebastian International Film Festival by eighth hell (1964).
* Honorable mention of the Argentina Association of actors for his career (1997).
* Award Leopoldo Torre nilsson of the Cinemateca Foundation Argentina for his career in the Argentine cinema for 45 years, and for his ongoing defense of freedom of expression to cultural recession and censorship (1983) offense.