Candida, Millionairess is a 1941 Argentine musical comedy film directed by Luis Bayón Herrera. Niní Marshall... Cándida Alberto Bello Armando Bo Osvaldo Miranda Pedro Vargas Alejandro Maximino Lucy Galián Adrián Cúneo María Goicoechea Billy Days Maruja Vergara Susana Castilla Regina Laval Carlos Roller José Dorado Lina Estévez Vicente Forastieri Los Rancheros Candida, Millionairess on IMDb
Norma Aleandro Robledo is an international award-winning Argentine actress, theatre director and author. She is considered as one of the best and most celebrated Argentine actresses and is recognized as a cultural icon. Aleandro starred in the Oscar-winning 1985 film, The Official Story, a role that earned her the Cannes Award for best actress, she has performed in other successful films like The Truce, Autumn Sun, The Lighthouse, Son of the Bride and Cama Adentro. For her performance as Florencia Sánchez Morales in the 1987 film Gaby: A True Story, she received a Golden Globe nomination and a Academy Award nomination for Best Supporting Actress. Aleandro has written the 1970 film, The Inheritors, has performed in various plays such like August: Osage County. Aleandro appeared in the Argentine adaptation of BeTipul, the critical success En terapia. Aleandro was born in Buenos Aires on May 2, 1936, she is the daughter of actors Pedro Aleandro and María Luisa Robledo and the sister of actor María Vaner.
During the late 1970s, she was vocal about her progressive views and during the military dictatorship she was exiled to Uruguay. Aleandro moved to Spain and did not return to Argentina until after the military junta fell in 1983. In 1985, her breakout role was the Argentine Academy Award-winning film The Official Story. For her acting in the film she won, among others, the Cannes Award for best actress, she worked in several other Argentine movies such as the Academy Award-nominated Son of the Bride, Sol de Otoño, El Faro. Aleandro co-starred in a few Hollywood films such as One Man's War, with Anthony Hopkins, Gaby: A True Story for which she received an Oscar nomination, she had a minor role in Cousins. Back in Argentina she returned to the stage with Master Class and won the "María Guerrero" award in 1996; the same year she was honored as Ciudadano Ilustre de la Ciudad de Buenos Aires. She has so far co-starred five times with fellow actor Héctor Alterio: Los siete Locos, the Academy Award-nominated The Truce, The Official Story, Son of the Bride and Cleopatra, the last three of which they played husband and wife.
In 2009, Aleandro appeared in The City of Your Final Destination, directed by James Ivory and co-starring Anthony Hopkins, Laura Linney and Charlotte Gainsbourg. La muerte en las calles Romeo y Julieta La casa de los Medina El último piso El amor tiene cara de mujer Cuatro mujeres para Adán Alias Buen Mozo Gente conmigo Los herederos La fiaca Güemes: la tierra en armas Los siete locos La tregua La historia oficial, Gaby: A True Story Cousins Cien veces no debo Vital Signs Artes especiales One Man's War Las tumbas Facundo, la sombra del tigre Carlos Monzón, el segundo juicio Sol de otoño El faro Corazón iluminado Una noche con Sabrina Love El hijo de la novia La fuga Todas las azafatas van al cielo Deseo Cleopatra Ay, Juancito 18-J Seres queridos Cama adentro Identidad perdida Pura sangre Patoruzito, la gran aventura The City of Your Final Destination Paco Música en espera Anita Andrés no quiere dormir la siesta Cuestión de principios Familia para armar La suerte en tus manos Cannes Award: Best Actress for The Official Story, 1985.
New York Film Critics Circle Awards: Best Actress for The Official Story, 1985. Cartagena Film Festival: Best Actress for The Official Story, 1985. David di Donatello: Best Foreign Actress for The Official Story, 1987. Donostia-San Sebastián International Film Festival: Best Actress for Sol de Otoño, 1996. Havana Film Festival: Best Actress for Sol de Otoño, 1996. Gramado Film Festival: Best Latin Actress for Son of the Bride, 2002. Academy Award: Best Supporting Actress for Gaby: A True Story, 1987. Golden Globe Award: Best Supporting Actress for Gaby: A True Story, 1987. Martín Fierro Awards: for En terapia, 2012, 2013. Konex Award: Diamond Award in 2001. Argentine Film Critics Association Awards: Best Supporting Actress for Son of the Bride, 2001. Martín Fierro Awards: Six awards throughout the years. Tato Award: Best Lead Actress in Drama, for En terapia, 2013. Association of Latin Entertainment Critics Awards: Best Character Actress for Cama Adentro, 2006. Obie Award: Distinguished Performance for About Love and Other Stories About Love, 1985.
Shakespeare Award: Distinguished career, given by Fundación Romeo Argentina, 2015. Norma Aleandro on IMDb Norma Aleandro at Cinenacional.com
Luis Sandrini was a prolific Argentine comic film actor and film producer. Considered as one of the most respected and most acclaimed Argentine comedians by the public and critics, he has made over 80 appearances in film between 1933 and 1980. He was the son of Genovés immigrants, his father was a theatrical actor, Luis began to work in a circus next to his parents, like clown. In the 1930s he entered the theatrical company of Enrique Muiño and Elías Isaac Alippi, where he met his first wife, the actress Chela Cordero. Made his debut in the cinema in 1933 acting in the first Argentine sound film Tango in which he worked with a great of the theater of magazines like Pepe Arias and the stars of the tango Libertad Lamarque, Azucena Maizani and Tita Merello, with the last one he had a romance when they filmed the film Juan Tenorio, he appeared on the radio, where he made Felipe, the prototype of Buenos Aires nice man, creation of Miguel Coronatto Paz, so successful that years was taken to television on Channel 13, where he shared screen with other great comedians as Tato Bores, Alberto Olmedo, Pepe Biondi, José Marrone, Carlos Balá, Dringue Farías and Juan Carlos Altavista, among others.
In the theater he made "Cuando los duendes cazan perdices" taken to the movies, behind the scenes, was astonished by the beauty of the young actress Malvina Pastorino whom he married. This resounding success made him become the most representative figure of the golden age of Argentine cinema, his last appearances were in costumbristas familiar films of Enrique Carreras. He died when he filmed the movie, My Family's Beautiful!, by Palito Ortega, where he worked alongside another great of the show, Niní Marshall. Luis Sandrini knew to conquer the heart not only of the people of his country but the rest of the Hispanic world due to the great characterizations of his personages, by which the films in which this great comedian act are known by all like the films of Sandrini, standing out from the rest of the cast and overshadowing the directors of the films. Famous expressions of his characters have passed into history, like that well-known of his film "Cuando los duendes cazan perdices": "¡La vieja ve los colores!".
He was praised for his characterizations and his characters have given people talk many years after the first releases of his films. The TV program Peter Capusotto y sus videos features a character played by Diego Capusotto called Bombita Rodríguez, believed to be inspired by Professor Tirabombas or Professor Hippie, both of Sandrini. Peruvian writer Mario Vargas Llosa, Nobel Prize for Literature in 2010, recalls Sandrini in a passage in his novel Who Killed Palomino Molero?: "Lituma and the lieutenant had been at the movies, watching an Argentine film by Luis Sandrini, which made people laugh a lot, but not at them." Mexican comedian Roberto Gómez Bolaños, Chespirito, in his memoirs, says about Sandrini:"He is an Argentine who should have official residence in the Olympus of comedians: Mr. Luis Sandrini, an actor in the full extent of the word, who brings us laughs like tears, it had been my idol since childhood and it always remained." -Roberto Gómez Bolaños Among the prizes and recognitions that he obtained they count the Argentine Academy of Cinematography Arts and Sciences Award to the best actor in 1950 por The Fault the Other One Had, a special mention in 1949 "for his brilliant performance in the Argentine cinema", the Silver Condor Award for Best Comedian in 1950 for Don Juan Tenorio and Juan Globo, the Silver Condor for Best Actor in 1954 for La Casa Grande and in 1972 for La Valija, the 1981 Honour Konex Award, the latter posthumously.
My Family's Beautiful! Frutilla Diablo metió la pata Vivir con alegría Casamiento de Laucha, El Así es la vida Canto cuenta su historia, El Chicos crecen, Los Yo tengo fe Hoy le toca a mi mujer Professor Tirabombas, El Mi amigo Luis Pájaro loco Professor patagónico, El Elefante color ilusión, Un Pimienta y pimentón El Profesor hippie.... Professor Héctor'Tito' Montesano Kuma Ching En mi casa mando yo.... Esteban Rossi Cuando los hombres hablan de mujeres.... Alejandro ¡Al diablo con este cura!.... Padre Francisco Lambertini Pimienta.... Peregrino Ferrari Bicho raro Viaje de una noche de verano Mujeres los prefieren tontos, Las Cigarra no es un bicho, La.... Taxi Driver Castillo de los monstruos, El.... El Profesor Y el cuerpo sigue aguantando Chafalonías "Felipe" TV Series.... Felipe Mi esqueleto Hombre que hizo el milagro, El Fantoche Hombre virgen, El Barro humano, El.... Taxista Cuando los duendes cazan perdices Maldición gitana The Seducer of Granada Casa grande, La Payaso Me casé con una estrella Culpa la tuvo el otro, La....
Víctor Valdez/Sincerato Cuesta/Víctor Valdez's Mother Seductor, El Baño de Afrodita, El Embajador, El.... Palmiro Sosa Juan Globo Don Juan Tenorio ¡Olé torero!.... Manuel Yo soy tu padre The Thief.... Plácido López The Private Life of Mark Antony and Cleopatra.... Marco Antonio Diablo andaba en los choclos, El The Maharaja's Diamond The Dance of Fortune Dos rivales, Los Captain Poison.... Jorge de Córdoba Suerte llama tr
Alfredo Félix Alcón was an Argentine theatre and film actor born in Buenos Aires. Regarded as one of the best and most important Argentine actors of the 20th century, he worked in more than 50 movies since his first one, El amor nunca muere, in 1955, received many recognitions for his work: among others, the Silver Condor, the Martin Fierro Award and the 1981 Diamond Konex Award. He died on April 11, 2014 at the age of 84. Alfredo Alcón was born on March 1930, in Liniers, his family has Spanish ancestry: his paternal grandmother immigrated from Cádiz, his mother from Castile. As a result, he had a fluent Spanish accent, his father died soon after his birth, so the family moved to Ciudadela, Buenos Aires. One of his early influences was Richard III by William Shakespeare, which he read at the age of 11, he began announcing news from the Liniers market. His first famous film was the 1955 Love Never starred by Mirtha Legrand; the film was directed by Luis César Amadori. The success of the film made them work again as lead actors in La Pícara soñadora, directed by Ernesto Arancibia, Con gusto a rabia, directed by Fernando Ayala.
He made his most successful films with the director Leopoldo Torre Nilsson. Un Guapo del'900 was followed by three historical films: Martín Fierro in 1968, El Santo de la Espada in 1970, Güemes: la tierra en armas in 1971, they filmed La Mafia in 1972, The Seven Madmen in 1973, Boquitas pintadas in 1974 and El Pibe Cabeza in 1975. He has worked in theater as well, both as director; some of his plays were directed by Margarita Xirgu, Carlos Gandolfo and Omar Grasso, he directed the plays Los caminos de Federico, Bocca-Alcón, Homenaje Ibsen, ¡Shakespeare todavía! and Final de partida. He played Hamlet amid concerns for its potential political connotations, his last work in television was a cameo in Herederos de una venganza, as the leader of a masonic lodge. He had worked before in Por el nombre de Vulnerables, he worked in the play Los reyes de la risa with Guillermo Francella. Alcón was hospitalized on November 28, 2013, he did not recover, died on April 11, 2014 of respiratory failure. He was mourned at the Argentine National Congress, the coffin was taken to La Chacarita Cemetery, with a brief stop at the Teatro General San Martín.
Love Never Dies Sugar Harvest The Candidate Summer Skin The Innocents El Santo de la Espada The Seven Madmen Nazareno Cruz and the Wolf What's Autumn? Son of the Bride In the City Without Limits Alfredo Alcón on IMDb INCAA
A screenplay, or script, is a written work by screenwriters for a film, television program or video game. These screenplays can be original adaptations from existing pieces of writing. In them, the movement, actions and dialogues of the characters are narrated. A screenplay written for television is known as a teleplay; the format is structured so that one page equates to one minute of screen time, though this is only used as a ballpark estimate and bears little resemblance to the running time of the final movie. The standard font is 10 pitch Courier Typeface; the major components are dialogue. The action is written in the present tense and is limited to what can be heard or seen by the audience, for example descriptions of settings, character movements, or sound effects; the dialogue is the words the characters speak, is written in a center column. Unique to the screenplay is the use of slug lines. A slug line called a master scene heading, occurs at the start of every scene and contains three pieces of information: whether the scene is set inside or outside, the specific location, the time of day.
Each slug line begins a new scene. In a "shooting script" the slug lines are numbered consecutively for ease of reference. American screenplays are printed single-sided on three-hole-punched paper using the standard American letter size, they are held together with two brass brads in the top and bottom hole. The middle hole is left empty as it would otherwise make it harder to read the script. In the United Kingdom, double-hole-punched A4 paper is used, taller and narrower than US letter size; some UK writers format the scripts for use in the US letter size when their scripts are to be read by American producers, since the pages would otherwise be cropped when printed on US paper. Because each country's standard paper size is difficult to obtain in the other country, British writers send an electronic copy to American producers, or crop the A4 size to US letter. A British script may be bound by a single brad at the top left hand side of the page, making flicking through the paper easier during script meetings.
Screenplays are bound with a light card stock cover and back page showing the logo of the production company or agency submitting the script, covers are there to protect the script during handling which can reduce the strength of the paper. This is important if the script is to pass through the hands of several people or through the post. Reading copies of screenplays are distributed printed on both sides of the paper to reduce paper waste, they are reduced to half-size to make a small book, convenient to read or put in a pocket. Although most writing contracts continue to stipulate physical delivery of three or more copies of a finished script, it is common for scripts to be delivered electronically via email. Screenplays and teleplays use a set of standardizations, beginning with proper formatting; these rules are in part to serve the practical purpose of making scripts uniformly readable "blueprints" of movies, to serve as a way of distinguishing a professional from an amateur. Motion picture screenplays intended for submission to mainstream studios, whether in the US or elsewhere in the world, are expected to conform to a standard typographical style known as the studio format which stipulates how elements of the screenplay such as scene headings, transitions, character names and parenthetical matter should be presented on the page, as well as font size and line spacing.
One reason for this is that, when rendered in studio format, most screenplays will transfer onto the screen at the rate of one page per minute. This rule of thumb is contested — a page of dialogue occupies less screen time than a page of action, for example, it depends enormously on the literary style of the writer — and yet it continues to hold sway in modern Hollywood. There is no single standard for studio format; some studios have definitions of the required format written into the rubric of their writer's contract. The Nicholl Fellowship, a screenwriting competition run under the auspices of the Academy of Motion Picture Arts and Sciences, has a guide to screenplay format. A more detailed reference is The Complete Guide to Standard Script Formats. A "spec script" or speculative screenplay is a script written to be sold on the open market with no upfront payment, or promise of payment; the content is invented by the screenwriter, though spec screenplays can be based on established works, or real people and events.
For American TV shows, the format rules for hour-long dramas and single-camera sitcoms are the same as for motion pictures. The main difference is. Multi-camera sitcoms use a specialized format that derives from stage plays and radio. In this format, dialogue is double-spaced, action lines are capitalized, scene headings, character entrances and exits, sound effects are capitalized and underlined. Drama series and sitcoms are no longer the only formats. With reality-based programming crossing genres to create various hybrid programs, many of the so-called "reality" programs are in a large part scripted in format; that is, the overall skeleton of the show and its episodes are written to di
Honeymoon in Rio
Honeymoon in Rio is a 1940 Argentine comedy film directed by Manuel Romero and starring Niní Marshall, Tito Lusiardo and Enrique Serrano. The film's art direction was by Ricardo J. Conord. Niní Marshall as Catita Tito Lusiardo as Gorostiaga Enrique Serrano as Goyena Juan Carlos Thorry as Emilio Alicia Barrié as Cristina Carmen del Moral as Susana Enrique Roldán as Rosales Zaira Cavalcanti as Mercedes Rist, Peter H. Historical Dictionary of South American Cinema. Rowman & Littlefield, 2014. Honeymoon in Rio on IMDb
Caballito, Buenos Aires
Caballito is a barrio of the Argentine capital, Buenos Aires. It is the only barrio in the administrative division Comuna 6, it is located in the geographical centre of the city, limited by the following streets and avenues: Rio de Janeiro, Av. Rivadavia, Av. La Plata, Av. Directorio, Curapaligüe, Av. Donato Álvarez, Av. Juan B. Justo, Av. San Martín, Av. Ángel Gallardo. The name is said to come from the horse-shaped weather vane from a local pulpería. In Caballito there are numerous points of interest. Among the area's cultural points of interest are the Church of Caacupé, belonging to an order of Irish nuns although receiving its name to a sculpture dedicated to the Virgin of Caacupé, the Faculty of Philosophy and Literature of the University of Buenos Aires. Other places of interest are the Cid Campeador monument, located at the corner of San Martín Avenue, Gaona Avenue, H. Pueyrredón Avenue, A. Gallardo Avenue and Díaz Vélez Avenue. Opened to the public in 1910, Parque Centenario was so christened in honor of the hundredth anniversary of 25 May 1810, proclamation that led to independence.
Designed by renowned French-Argentine urbanist Charles Thays, the 50-acre park is one of Buenos Aires' largest as well as home to a concentration of public facilities. The park, in 2006, underwent extensive refurbishment, as well as the installation of a swan lake in replacement of the two existing smaller ones. Neighbourhood commuters are served by Underground Line A, opened in 1913 as the city's first Underground line; the neighbourhood has a long historical connection with the Underground, since it is the site of the Polvorín Workshop, where the line's famous La Brugeoise rolling stock was repaired. The workshop is now the site of the Buenos Aires Heritage Tramway, which runs through the neighbourhood. There is the Sarmiento Line, a commuter rail service which takes passengers westward to Greater Buenos Aires or eastward to Once railway station and closer to the city centre. Www.infocaballito.com www.caballitoenlinea.com www.vivecaballito.com Historic Tramway in Caballito – Asociación Amigos del Tranvía