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In parallel, the film tells the story of
Juanita (Rosita Contreras), a girl from the interior who comes to Buenos Aires to try her luck with radio, but has little success. One night Argüello, the announcer of Radio Moderna, finds Juanita in the street, decides to help her, and then they fall in love.
318:
The film is a police comedy with songs interpreted by Rosita
Contreras and Amanda Ledesma. It gives a comical and satirical presentation of the financial model of radio stations. The film depicts the conflicts between the interests of the audience, advertisers and censors. The character of Enrique L
398:. He became one of the most prolific scenographers in the country. The decorations of the homes of the characters and the radio offices is in modern, rationalist style typical of upper-class homes in Buenos Aires at the time, apart from the lodgings of Argüello, who belongs to a lower social class.
213:'s well-known orchestra and the Santa Paula Serenaders jazz band. The orchestra and band made important contributions to the success of the film, as did the star performers. One number is a comedy where everyone in the cast sings a part of a song in which the main singers are Ledesma and Contreras.
201:
The character of the radio tango star, Alicia Reyles, interpreted by Amanda
Ledesma, is a modern woman who divorces her husband in Montevideo because she has a relationship with the station's most important sponsor, Aguirre. Reyles is victim of an assassination attempt and kidnapping while singing
420:
praised the interpretive capacity of Discépolo in his role as director of the radio station, in which his grotesque performance is full of expression and vigour. Sergio Pujol also refers to Discépolo's "grotesque technique" at the end of the film where his explanation of what he had done could be
202:
during a radio broadcast. The story of the radio station emerges as different members of the station are interrogated by the police. At the end of the film it is revealed that Martínez has arranged the disappearance as a strategy to increase the audience.
319:
Santos Discépolo, constantly negotiating with advertisers, parodies the relationship, as do the performers who sing the words of the advertisements with the ridiculous rhythms of the S.A.D.R.A. (Sociedad
Argentina de Radio Audiciones).
198:, who also helped with the script. The director is worried about withdrawal of ads and falling profits, and throughout the film is looking for something exciting for listeners that will make the audience grow again.
378:. In 1933 he was awarded a scholarship by the National Cultural Commission to the United States, where he worked in Hollywood as a set designer. After returning to Argentine he designed sets for
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The main musical numbers are rehearsals and performances of the two tango stars, Amanda
Ledesma and Rosita Contreras. There are also outstanding performances by the
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This couple solve the mystery of the kidnapping of Alicia Reyles at the end of the film, when the station is given a new direction.
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The film is set in the Radio
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called an apocalyptic criticism of the radio medium, with the demand of its audience for sensation.
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won praise for his performance as the increasingly desperate director of the station.
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The film was made on a relatively low budget. The 76-minute film was directed by
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El mercado del deseo: Tango, cine y cultura de masas en la
Argentina de los '30
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Fratelanza: Enrique Santos Discépolo : el reverso de una biografía
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in 1936. He directed other musicals and crime films such as
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Pazos, Roberto Blanco; Clemente, Raúl (1 January 2004),
331:. Moglia Barth had made the first sound film version of
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De la fuga a la fuga: diccionario de films policiales
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565:Galasso, Norberto; Dimov, Jorge (1 January 2004),
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669:Historical Dictionary of South American Cinema
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406:The film was released on 17 November 1937.
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1031:Dringue, Castrito y la lámpara de Aladino
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672:, Rowman & Littlefield Publishers,
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374:The scenery was created by the artist
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163:. It may be seen as an exposé of the
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151:, a musical directed and written by
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167:of radio stations of the period.
513:Melodías porteñas – Cinenacional
1072:Argentine black-and-white films
16:1937 film by Luis Moglia Barth
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666:Rist, Peter H. (8 May 2014),
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1067:1930s Spanish-language films
592:Mariño, Cecilia Gil (2015),
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96:November 17, 1937
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1092:Films set in Buenos Aires
905:Con el dedo en el gatillo
761:Puños, chárleston y besos
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571:, Ediciones Colihue SRL,
472:Pazos & Clemente 2004
347:(1940). The script is by
344:Con el dedo en el gatillo
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549:Galasso & Dimov 2004
361:Enrique Santos Discépolo
353:Enrique Santos Discépolo
351:, Luis Moglia Barth and
243:Enrique Santos Discépolo
196:Enrique Santos Discépolo
169:Enrique Santos Discépolo
78:Enrique Santos Discépolo
54:Enrique Santos Discépolo
1087:Argentine musical films
367:. Cinematography is by
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1015:La Doctora Castañuelas
889:Una mujer de la calle
191:
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145:Buenos Aires Melodies
52:, Luis Moglia Barth,
1039:El cura de la sierra
1023:Intermezzo criminal
865:El último encuentro
385:Escala en la ciudad
369:Alberto Etchebehere
303:Guillermo Battaglia
149:1937 Argentine film
64:Alberto Etchebehere
1077:1937 musical films
977:Não Me Digas Adeus
921:Hogar, dulce hogar
747:Films directed by
380:Alberto de Zavalía
293:Pascual Pelliciota
287:Comisario Giménez
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159:singer, played by
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857:Melodías porteñas
849:La casa de Quirós
749:Luis Moglia Barth
702:Melodías porteñas
679:978-0-8108-8036-8
652:978-950-05-1528-3
621:Melodías porteñas
605:978-987-723-039-0
578:978-950-581-944-7
410:Critical response
395:Crimen a las tres
365:José Vázquez Vigo
329:Luis Moglia Barth
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153:Luis Moglia Barth
140:Melodías porteñas
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82:José Vázquez Vigo
40:Luis Moglia Barth
22:Melodías porteñas
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624:(in Spanish),
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357:Juan d'Arienzo
355:. Music is by
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165:sensationalism
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112:Running time
89:Release date
1042:(1959) (TV)
929:Fortín alto
825:Santos Vega
631:11 February
537:Mariño 2015
496:Mariño 2015
484:Mariño 2015
457:Mariño 2015
442:Mariño 2015
349:René Garzón
333:José Mármol
50:René Garzón
36:Directed by
1062:1937 films
1056:Categories
961:María Rosa
425:References
376:Raúl Soldi
323:Production
188:film still
116:76 minutes
100:1937-11-17
46:Written by
913:Confesión
841:Melgarejo
801:Riachuelo
598:, Teseo,
525:Rist 2014
417:La Prensa
335:'s novel
283:Juan Bono
267:Argüello
124:Argentina
809:Picaflor
388:and for
237:Juanita
129:Language
70:Music by
793:Dancing
785:¡Tango!
558:Sources
402:Release
307:Matías
297:Torres
147:) is a
132:Spanish
121:Country
98: (
1034:(1954)
1026:(1953)
1018:(1950)
1010:(1950)
1004:(1950)
996:(1949)
988:(1948)
980:(1947)
972:(1947)
964:(1946)
956:(1942)
948:(1942)
940:(1941)
932:(1941)
924:(1941)
916:(1940)
908:(1940)
900:(1940)
897:Huella
892:(1939)
884:(1939)
876:(1938)
868:(1938)
860:(1937)
852:(1937)
844:(1937)
836:(1936)
828:(1936)
820:(1936)
817:Amalia
812:(1935)
804:(1934)
796:(1933)
788:(1933)
780:(1932)
772:(1928)
764:(1927)
685:22 May
676:
658:22 May
649:
611:21 May
602:
584:22 May
575:
338:Amalia
314:Themes
945:Cruza
769:El 90
712:Video
227:Role
224:Actor
186:in a
157:tango
833:Goal
707:IMDb
687:2017
674:ISBN
660:2017
647:ISBN
633:2014
613:2017
600:ISBN
586:2017
573:ISBN
363:and
217:Cast
175:Plot
705:at
392:'s
382:'s
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503:^
464:^
449:^
432:^
371:.
359:,
80:,
76:,
740:e
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726:v
515:.
190:.
143:(
102:)
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