Rodolfo Bebán inherited three things from his father Miguel: the love for television, for the cinema and for the theater. And he borrowed his stage name. On the day of his death, this Sunday, August 14, let us remember his relationship with the seventh art.
The Tilli, the real family name of father and son, always stood out in acting. The first practically when Argentine television was emerging. The son, becoming the gallant par excellence when the Golden Age of the Argentine soap opera. But at some point in their careers, the big movie screen dazzled them both in a forceful way.
Belonging to the great litter of actors where they stood out Alfredo AlconErnesto Bianco or Pepe Soriano, Rodolfo Bebán began his film career with a film that was somewhat outdated, but which had become fashionable in times of repression (Onganía’s dictatorship, 1960s) accommodation hotels.
Following the success of its predecessor Cicada is not a bug (Daniel Tinayre, 1963) the director Fernando Ayala summons him for his twelfth production, Hotel Accommodation (1966). A black and white film that narrated various adventures of couples who coincided in a famous transitory hostel in Buenos Aires.
Rodolfo Bebán was the protagonist of “Juan Manuel de Rosas”, Manuel Antín’s 1972 film.
There Bebán shared the poster with a large cast of actresses and actors, many of whom came, like him, from the theater and television: Atilio Marinelli (another great icon of televised soap operas), Gilda Lousek, Osvaldo Miranda, Marilina Ross and Marcos Zucker among others.
The first big role
His first stellar film role came that same year with Arm in arm and down the street (Enrique Carreras), an Argentinian-Spanish co-production where he forms a couple with Evangeline Salazar (it would not be Bebán’s only contact with the Ortega clan) that showed the conflicts of a humble couple.
His figure grewIt was the time of the great cinemas in the city center (Luxor, Gaumont, Select Lavalle, Metro, Ambassador, etc) and along with the success of these great theaters in each neighborhood there were at least two or three cinemas that premiered simultaneously .
A year later it would The piranhasanother production shared with Spain and directed by none other than the prestigious Luis García Berlanga (Valencia, 1921- Madrid, 2010).
In 1968 he premiered, also directed by Enrique Carreras, Argentinian marriage. The film was based on the play Sextet, by the Hungarian writer and screenwriter Ladislao Fodor. The title alluded directly to the great film by Vittorio de Sica Italian weddingstarring Marcello Mastroianni and Sophia Loren, who had been a worldwide success in 1963.
1969 shows Bebán as part of the cast of The boys from before did not use gomina, with a script by Norberto Aroldi, a film set in Buenos Aires at the beginning of the 20th century and with Susana Campos as a partner.
Juan Moreira, the consecration with Favio
Rodolfo Bebán, in “Juan Moreira”. Leonardo Favio’s film was seen by two and a half million viewers. And it was consecrating for the actor.
In 1972 Bebán puts himself in the shoes of the caudillo Juan Manuel de Rosas, along with a cast that featured Sergio Renán (as Juan Lavalle) and Aldo Barbero playing Tomás de Anchorena. This revisionist attempt did not go well directed by Manuel Antín and the specialized critics of the time practically destroyed it.
The revenge for the actor would come exactly one year later, when the huge Leonardo Favio summons him to star in one of his most acclaimed films: John Moreira.
Elcira Olivera Garcés and Edgardo Suárez supported that lazy, dirty and “badly entertained” gauchowhile the law motive musical by Pocho Leyes and Luis María Serra became a true radio hit.
Of course they will be stamped on fire the last three words of this Pampas Christ in the filmwhen he is stabbed by Chirino’s bayonet: “With this sun…!”.
John Moreira wins the Silver Condor for Best Filmin 1974. But it is also a huge success with the public: it is said that two and a half million viewers they saw her
With Process to Infamy (1974) and directed by Alejandro Doria, Bebán returns to black and white cinema to star in the fight between two warlords in Buenos Aires in 1930. As a curiosity, it should be noted that the film fIt was initially banned by de facto government censorshipbut after cutting some scenes where Marilina Ross was raped, the censor Miguel Paulino Tato allowed its exhibition.
Tato had directed Miguel, Bebán’s father, in Facundo, the tiger of the plainsin 1952.
With the pen of Borges and Bioy Casares
The poster for “Los orilleros”, with Rodolfo Bebán and script by Jorge Luis Borges and Adolfo Bioy Casares.
On October 23, 1975, it opens the riverbanksdirected by Ricardo Luna from his own script shared with none other than Jorge Luis Borges and Adolfo Bioy Casares.
In the cast: Milagros de la Vega, Oscar Ferrigno, Antonio Grimau, María Leal and the great Egle Martin.
Three years would pass before Rodolfo Bebán returned to the big screen, and he did so with Jorge Zuhair Jury’s debut feature, The fantastic world of Maria Montiel. The script was shared by Jury with her brother, Leonard Favioand critics surrendered at the feet of this film that told the story of a girl in a brick oven.
The invitation (September 1982) was based on the homonymous novel by Beatriz Guido about an arms dealer who arrived in southern Argentina. There he shared great performances with Pepe Soriano, Ulises Dumont and China Zorrilla.
Rodolfo Bebán in “Personal Security”, his latest film.
The final point of Rodolfo Bebán’s cinematographic cycle is given with the film Personal security (Anibal di Salvo, 1986), who told the love story of a bodyguard with the wife of a criminal (yes, Tarantino did not invent anything) with commendable interventions by Katja Alemann, Darío Grandinetti and Rudy Chernikoff.
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Reference from clarin www.clarin.com