| Yo no se que me han hecho tus ojos .. . 
I do not know what your eyes have done to me ... is the title of the movie about the enigmatic life of the songwriter Ada Falcón, one of the great legend of the history of the tango. Ada Falcón retires very prematurely, in 1942, becoming franciscana nun and making an oath of not returning to give interviews, neither to let herself photograph nor to return to sing. Until today, in which it breaks silence, it is let see and it counted its history after seventy years... The film, narrates the history of the star through Argentine film fragments diverse of the years ´30, including the only one that filmed Falcón, the real life of the singer.
This film investigates the history of Ada Falcón, famous singer of tango of the Thirties, and her disappearance of the public life at the beginning of the forty, when she still was in the peak of her fame.
As in a detective noir, Wolf looks for tracks, trying to find out in almost obsessive form the why, how, when of that mysterious life. This history is a puzzle, buried and hidden under the streets and buildings of Buenos Aires. We found out the luxurious life of Ada, her romance with Francisco Canaro, her mentor, of the fights with that man for diverse reasons. Her sudden decision to leave Buenos Aires after a religious revelation and a promise before God. During the first part of the film, the reconstruction crosses images in which Wolf and Muñoz recover the fleeting beauty of the singer next to the timbre of doughy voice with which, at his time of gold, it left stragglers to other colleagues like Lily Maizani or Tita Merello. Reason by which it received the nickname of "empress of the tango". That figure that was devoted in the decade of the 30 acquired - in short time fame, it monopolized the radios, it reached to record a considerable number of discs, and gained a fortune that allowed her to live as a diva in an imposing big rambling house on Palermo and to satisfy its whims with star (like leaving to dry the hair outdoors raised one of its convertibles). Ada Falcón, the one of the green eyes, distrust of some women and sleeplessness of many men - among them, Carlos Gardel- is drawn itself in the film from a narrator in off. The wire of the story is a similar figure to the one of the detective. Located in front of the camera, one of the directors (Wolf), takes to us and it brings to us throughout his search, invites to us to consider his doubts, his mysteries, his findings. The film receives this way an accurate police novel atmosphere. In this structuring, the story is successful and effective. The important thing in this type of films, and this one adheres so to anticipated, is that finally the mystery is not explained, but rather that remains, on the contrary, quiet amplified. | | Yo no se que me han hecho tus ojos... es un documental sobre la enigmática vida de la cancionista Ada Falcón, una de las grandes leyendas de la historia del tango. Ada Falcón se retira muy prematuramente, en 1942, convirtiéndose en monja franciscana y haciendo un juramento de no volver a dar entrevistas, ni dejarse fotografiar ni volver a cantar hasta hoy, en que rompe el silencio, se deja ver y cuenta su historia después de setenta años... El film, narra la historia de la estrella a través de fragmentos de diversos films argentinos de los años ´30, incluido el único que filmó Falcón, y cuyo arguemtno se asemeja a la vida real de la cantante Esta película que apenas excede la hora de metraje se propone investigar la historia de Ada Falcón, famosa cantante de tango de los años treinta, y su enigmática desaparición de la vida pública a principios de los cuarenta, cuando aún estaba en la cúspide de su fama. A la manera de un detective de film noir, Wolf busca pistas, intentando averiguar en forma casi obsesiva el porqué, el cómo, el cuándo de esa vida misteriosa.
Entrevista a toda clase de personas –muchas de las cuales conocieron a Falcón–, quienes aportan datos que permiten ir armando el rompecabezas. Porque esta historia es eso, un rompecabezas enterrado, oculto bajo las calles y edificios de Buenos Aires, pero dispuesto a revelarse ante quien se proponga rascar la superficie. Wolf lo hace, y con él nos enteramos de la lujosa vida de Ada, de su romance con su mentor Canaro, de las peleas con ese hombre por diversas razones (ninguna de ellas realmente confirmada) y de la súbita decisión de abandonar Buenos Aires tras una revelación religiosa y una promesa ante Dios. Durante la primera parte del film, la reconstrucción de la enigmática Ada Falcón cruza imágenes de archivo en las que Wolf y Muñoz recuperan la fugaz belleza de la cantante junto al timbre de voz pastosa con el que, en su época de oro, dejaba rezagadas a otras colegas como Azucena Maizani o Tita Merello. Motivo por el cual recibió el apodo de "emperatriz del tango". Esa figura que se consagró en la década del 30 adquirió -en poco tiempo- fama, acaparó las radios, alcanzó a grabar un número considerable de discos, y ganó una fortuna que le permitió vivir como una diva en un imponente caserón de Palermo y satisfacer sus caprichos de estrella (como salir a secarse el pelo al aire libre subida a uno de sus descapotables). Ada Falcón, la de los ojos verdes, recelo de algunas mujeres y desvelo de muchos hombres -entre ellos, Carlos Gardel- se va dibujando en el film a partir de un narrador en off. El hilo conductor del relato es aquí una figura semejante a la del detective. Ubicado delante de la cámara, uno de los directores (Wolf), nos lleva y nos trae a lo largo de su búsqueda, nos invita a considerar sus dudas, sus misterios, sus hallazgos. El film cobra de esta manera una certera atmósfera de novela policial que nos integra y nos compromete en dicha búsqueda, nos interese o no su fin. En esta estructuración, el relato es exitoso y eficaz.
Deseamos a Ada Falcón, deseamos su imagen-movimiento, su sonido que pudiera venir a allanar el misterio. Lo primero adviene, lo último no. Lo importante en este tipo de films, y éste se adhiere a tal premisa, es que finalmente el misterio no se dilucide, sino más bien que permanezca, por el contrario, silenciosamente amplificado. | | Yo no sé qué me han hecho tus ojos
Argentina, 2003.
Castellano, color/ b/n, 64m.
Dirección: Sergio Wolf y Lorena Muñoz.
Participan Ada Falcón (ella misma), Aníbal Ford (él mismo), Rolando Goyaud (él mismo), José A. Martínez Suárez (él mismo), Miguel Ciacci (él mismo), Sergio Wolf (él mismo).
Guión: Sergio Wolf y Lorena Muñoz.
Montaje: Alejandra Almirón.
Asistente de cámara: Juan Pablo Melibovsky.
Fotografía: Segundo Cerrato, Federico Ransenberg, Marcelo Levintman.
Sonido: Alejandro Alonso, Cote Álvarez, Gaspar Scheuer, Diego Bernaud.
Producción ejecutiva: Marcelo Céspedes y Carmen Guarini.
Asistente de producción: Diego Martorell, Ramiro Sánchez.
Exhibida en el 5° Festival Internacional de Cine Independiente de Buenos Aires, abril de 2003. Sección Cine Argentino – Lo Nuevo de lo Nuevo. | | Io non so cosa mi hanno fatto i tuoi occhi ... è un documentario sull'enigmatica vita della cantante Ada Falcón, una delle grandi leggende della storia del tango. Ada Falcón si ritira molto prematuramente, nel 1942, convertendosi in suora francescana e facendo giuramento di non dare più interviste, nè di farsi fotografare, solo si lascerà vedere e racconterà la sua storia dopo 70 anni, il film narra la storia di questa stella attraverso fragmenti di diversi film argentini degli anni 30 comprendendo l'unico film che girò Ada Falcón ed il cui argomento assomiglia alla vita reale della cantante. More - scroll for MP3 :
Francisco Canaro
Nickname: "Pirincho"
b:Nov. 26, 1888, Argentina, d: Nov. 14, 1984, Buenos Aires, Argentina.
His father, Francisco Canaro, and his mother, Rafaela Gatto, were both Italian immigrants to Uruguay. In 1898, his family relocated to Buenos Aires, Argentina. (Not until 1940, did Francisco became a nationalized Argentinean.) Young Francisco, first tried his hand at vocalizing, but soon learned to play the guitar and mandolin when his local shoemaker, another Italian immigrant, taught him how to play these instruments. Another neighbor, made him an improvised violin out of an empty oil can and other parts, and so Canaro also learned to play the violin, - which would become his principal instrument. 10 years later, he was playing in Paris, France. Juan Caldarella and the Scarpino brothers dedicated one of their Tangos "Canaro in Paris", to him.
Between 1908-1920, Canaro had his most prolific composing period. His best known works from that time include: "Times", "Madreselva", "Mano Brava", "El Chumayo", "La Tablada", "Nuevo Puntos", "Pinta Brava", "Chauscada", "El Pollito", "La Llamada", "Nobleza de Arrabal", and "Milonga Con Variacion". He composed many more including 1924s, "Feeling Gaucho", which received the first Max Gluksmann (Odeon discs) prize. Carlos Gardel recorded that song. Canaro also composed waltzes, - such as "Corazon De Oro" and "Vibraciones De Alma", slow milongas such as "Milonga De Mis Amores", and fast milongas such as "Milonga Bravo", and "La Milonga De Buenos Aires". He may have made more recording than any other Tango orchestra leader. In 1961, the 73 years old Canaro appeared on the TV program " I am Buenosairean".
"Pirincho's" career as a composer and bandleader spanned the years 1916-1964. He was also one of the founders and also the very first president of SADAIC, the Argentine composers and authors society.
1900 - 1920 : La Guardia Vieja (The Old Guard)
1920 - 1940 : La Guardia Nueva (The New Guard) -The Epoca de Oro of Argentine Tango.
1940 - 1960 : La Post-Guardia Nueva (The New Post-Guard), The generation of the 40's.
1960 - present : El Nuevo Tango (The New Tango) MP3 Ada Falcón & MP3 Francisco Canaro:
sonido_Ada.htm
Francisco Canaro... La orquesta y sus mejores cantores |
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