History

THE ROOFTOP MADMEN

A group of four young radio amateur friends, the doctor Enrique Telémaco Susini and three medical students, Luis Romero Carranza, Miguel Mujica and César Guerrico, known as Los locos de la azotea, made the first open radio broadcast in history on the night of August 27, 1920. From the rooftop of the Teatro Coliseo, the opera Parsifal traveled through the air to the ears of a privileged audience. Susini conducted the broadcast, becoming the first radio host in the world.

“Ladies and Gentlemen: Radio Argentina Society presents to you today Richard Wagner’s Sacred Festival, Parsifal, with performances by tenor Maestri baritone Aldo Rossi Morelli and Argentine soprano Sara César, with the orchestra of the Teatro Costanzi of Rome, conducted by Maestro Felix von Weingarten.”

THE ROOFTOP MADMEN

“We were doctors who studied electrical effects in medicine and also radio amateurs who were sufficiently well informed to be at the forefront. But, basically, we were imaginative people, lovers of music and theater. And so it occurred to us that this marvelous invention could become the most extraordinary instrument for cultural diffusion.”

– Enrique Telémaco Susini –

They form a successful partnership under the acronym S.A.R.A. and continue broadcasting in the format of programs, in which Susini uses his knowledge of languages and manage of the voice to represent different fictitious guests who, in addition to speaking, sing and recite poems.

Radio Argentinais the first radio station in the world. Later, with their new company Vía Radiar, they innovate by establishing short wave communications to long distances. The Rooftop Madmen are at the worldwide forefront in communications.

After raising a substantial sum by selling Via Radiar, The Rooftop Madmen invest the capital in the development of the film industry. They travel and study the Hollywood sound film production model.

On October 31, 1931, they acquire the La Algovia farm (1919, architect Kronfus), owned by the Zeller family. Together with architect Conord (who would become a set designer) they build the studios, which they inaugurate the following year. They create S.A. Radiocinematográfica Argentina Lumiton (Light and Sound). The Munro mansion becomes the mythical Casa de las estrellas (House of the Stars).

The independence and self-sufficiency in all areas and stages of production place Lumiton in a vanguard position. It was here that the first Argentine sound film “Los Tres Berretines” (1933) was made, followed by hundreds of productions, including those produced by the Gong’s own label and those that passed through the studios.

ENRIQUE TELÉMACO SUSINI

BUENOS AIRES 01/31/1891 – 07/04/1972

At the age of 14 he finishes high school at the Colegio Nacional de Buenos Aires and travels with his family to Vienna when his father, Telémaco Susini, the first otorhinolaryngologist in the country and an outstanding scientific researcher, is appointed consul. He enters the Medical School in Vienna, at the same time he teaches violin and singing at the Imperial Conservatory. He studies physics and chemistry in Paris and Berlin. He returns to Buenos Aires and studies medicine at the University of Buenos Aires. At the age of 23 he graduated after an award-winning thesis. In Europe he specializes in otorhinolaryngology and introduces phoniatrics in Argentina.

Innovator, scientist, artist, polyglot, opera régisseur, theater and film director and producer, screenwriter, musician, composer, doctor, entrepreneur, visionary, multifaceted.

He worked as a journalist for national and foreign newspapers as a correspondent in both world wars. He is hired by the Navy to carry out scientific research. He receives the National Award for Scientific Production. As a radio amateur, his practice is, more than a hobby, a passion with which he investigates and transforms the world. From the first radio transmission with The Rooftop Madmen, he became the first radio host in history. Later on, he continues to innovate with the long distance telecommunications company Vía Radiar. Together with The Rooftop Madmen, he founds Lumiton Studios. Susini becomes the first Argentine director to be nominated for an international film award, with the film “La Chismosa” at the Venice Film Festival in 1938. In 1948, while working as a professor of phoniatrics at the National Conservatory of Music, he meets Alicia Arderius, his future wife, who will accompany him for the rest of his life. With this lyrical singer of marvelous voice, he produced numerous musicals. On October 17, 1951, the first television broadcast took place in Argentina, being Susini the one who recorded and documented the event as General Director and cameraman to later assume the artistic direction of Channel 7.

He is the author and director of “Madama Lynch”, the first Argentinean musical. He presides over the Sociedad de Empresarios Teatrales.

He writes and directs numerous plays in theaters such as La Scala in Milan. As a member of the Administrative Commission of the Teatro Colón, he creates the stable casts and schools. He is the director of the First Mar del Plata Film Festival and director of the Argentine Film Directors Association. He is an advisory member of the Instituto Nacional de Cinematografía and an executive member of the Academia de Artes y Ciencias Cinematográficas de Argentina. In parallel to his great activity, he continues to practice his profession as a phoniatrist treating great stars such as Carlos Gardel and María Callas. In his last years he regretted that the end was near because he said he still had much to do.

John Alton

Sopron, Hungary, 10/05/1901
LOS ÁNGELES, USA 06/02/1996

Cinematographer for MGM and Paramount, head of the Camera Department of Joinville Studios (Paris).

Arrived in Buenos Aires on April 20, 1932 to join the Lumiton team. He married the Argentinean journalist Rozalia Kiss and settled in the country for 7 years. He moved from Lumiton to Argentina Sono Film, collaborating in the development of the national film industry.

He returns to Hollywood where he has an extensive career and is known as one of the key figures of film noir. In 1951 he received an Oscar for his first color film,” An American in Paris”, directed by Vincent Minnelli.

“I met some Argentine millionaires who were planning to build a studio in Argentina. They asked me to go and design it, so I asked for a year’s leave in Joinville. I went to Argentina, we built a studio and I made a film. But in between I got married.”

Ladislao (lazlo) kish

DEBRECEN, HUNGRÍA, 02/15/1904

Arrived in Buenos Aires on July 31, 1932, summoned by the new Lumiton Studiosas an editor. A pioneer in the layout of Argentinean sound films, he is the first editor for Lumiton and the editor of “Los Tres Berretines”. Francisco Mugica, his successor, learns the art of editing from Kish. He returned to Europe and worked as a director and scriptwriter in the Italian cinema of the 40s and 50s.

 

 

The editing was done with a magnifying glass, on tables where the shots were stacked in small rolls. The film was visualized through a light and the cuts were made with scissors. The splicing and the effects were done by hand.

In 1938 the emblematic image of the production company was incorporated: The Gong Man, played by

Michel Borowsky, first dancer for the Teatro Colón.

The gong was made with plaster and the sound was added in post-production.

CASA DE LAS ESTRELLAS (HOUSE OF THE STARS)

The concept of “movie stars” in our country is part of Lumiton, and the first to be recognized as such is Luis Sandrini, starting from “Los tres berretines”. Some other stars, such as Mirtha Legrand, Mecha Ortiz, Juan Carlos Thorry, Susana Freyre, Olga Zubarry, Niní Marshall and Hugo del Carril, began their careers in these same studios under great directors.

Manuel Romero and his popular comedies; Francisco Mugica and his sophisticated dramas and romantic comedies; Hugo Carlos Christensen, precursor of erotic films and author of successful police films, to name only three great names whose filmography stands out inside the gong production company. His black and white photography, influenced by the master John Alton, uses a cosmetic setting of light and dramatic shadows. Lumiton marked the years of glamour, great sets, detail in art, costumes and make-up and exquisite props.

Línea de tiempo

1931

THE ROOFTOP MADMEN

The rooftop madmen, Enrique Telémaco Susini, César José Guerrico, Luis Romero Carranza and Miguel Mujica set out on an adventure. Attracted by the novelty of Hollywood sound films, they travel there with the intention of bringing it to Argentina. They bought a complete set of filming equipment at Bell & Howell.

Back in the country, they look for a property that would allow them to install MGM’s design and production model. They acquire La Algovia farm from the Zeller family, located at 2351 Mitre Avenue, in Munro, where they create the Sociedad Anónima Radiocinematográfica Argentina Lumiton, with a capital of $300.000. Raúl Orzábal Quintana, joins the company and builds the sound equipment.

1932
17
DIC

Opening

The Lumiton Studios (Lumi: Light + ton: sound), the first modern studios in the country, are inaugurated. The work, designed by architect Ricardo Conord, is a local version of what had been seen in Hollywood, with a first film studio and laboratory.

As advisors, Lumiton summoned two great figures from the foreign film world: the Hungarian-American cinematographer John Alton, who had worked for MGM and Paramount, and the Hungarian editor Ladislao (Lazlo) Kish. Jorge Carlos Lemos is in charge of the laboratory. A young film enthusiast joins the team: Francisco Mugica.

1933
19
MAY

First Film: Los tres berretines

On May 19, Lumiton premieres its first film at the Cine Astor: Los tres berretines, starring Luis Arata, Luis Sandrini and Luisa Vehil. The film stands out for its good sound and sharp photography which, together with Luis Sandrini`s charm, attracts crowds to the cinema for the first time. This adaptation of the theatrical hit costs $18,000, and recovers over a million.

Sandrini is paid $600 and the wig with which he plays the character that establishes him as the first star of Argentine cinema. Considered the first fiction sound film in Argentina, this film carries in its credits a particularity that marks the characteristic philosophy of these studios: “Direction: Equipo Lumiton“.

Tango! The first argentinean sound film, directed by Luis José Moglia Barth. Actors: Luis Sandrini, Tita Merello, Libertad Lamarque and Pepe Arias. Produces: Argentina Sono Film, founded that same year.

1934
25
MAY

Ayer y Hoy premiers

Miguel Faust Rocha and Alicia Vignoli Ayer y Hoy, premieres under the direction of Equipo Lumiton. Without the expected success, they look for a new director who knows the target audience. Francisco Oyarzábal introduces them to Manuel Romero, one of the driving forces of the Buenos Aires variety show and with a successful career in theater. He is the assistant director and co-writer with Bayón Herrera of Luces de Buenos Aires, with Carlos Gardel. Oyarzábal joined Lumiton as executive producer, a key player in the development of the production company.

Carlos Gardel’s films produced by Paramount in Joinville (Paris) popularize sound films in Argentina. Cuesta abajo gives rise to a unique event. The public, fascinated by the voice of Zorzal Criollo, forces the projections to be interrupted to listen to him again.

1935

Micro-cinema and laboratory

The construction of the laboratory and the micro-cinema is completed. The big names, faced with long days of shooting in the studios, turn the house into La casa de las estrellas(House of the stars).

In these times, the emblematic image of the production company is incorporated, “El hombre del Gong”, performed by the first dancer of the Teatro Colón, Michel Borowsky.

Manuel Romero premieres his first film in Lumiton, Noches de Buenos Aires, starring Fernando Ochoa, Tita Merello, Severo Fernández, Irma Córdoba, Enrique Serrano and Aída Olivier. It is a police melodrama with comic beats and good technique.

With the desire to incorporate Gardel into Argentinean sound films, Romero writes El caballo del pueblo with a role for him. When Gardel flies to Buenos Aires to begin filming, an accident in Medellín causes his death. With production underway, Lumiton decides to hire the young actor and jazz singer Juan Carlos Thorry as replacement. He is accompanied by Olinda Bozán, Irma Córdoba, Enrique Serrano y Pedro Quartucci.

The themes of the films reflect the Argentine character and way of feeling and, with the incorporation of tango andthe suburbs, they create a cinema with its own identity
Important directors emerge in the national cinema: M. Soffici, L. Saslavsky, D. Tinayre and A. de Zavalía. Daniel Tinayre premieres his debut film, Bajo la Santa Federación. produced by Productora Argentina de Films.

1936

120 technicians filming day and night

Lumiton cuenta con 120 técnicos entre los que se encuentran jóvenes del barrio como Pedro Marzialetti (camarógrafo/director de fotografía), Serafín de la Iglesia (jefe de electricistas, asistente de dirección de fotografía), Antonio Rampoldi (montajista) y Alfredo Traverso (director de fotografía que ilumina emblemáticas películas de Carlos Hugo Christensen). All the capital generated by the success of the films is reinvested in Lumiton: a fourth studio is completed, the laboratory is enlarged, workshops are organized with scenographic material and all the necessary areas of a big studio.

Lumiton se caracteriza por su forma de trabajo colectivo y crea una comunidad que le da al séptimo arte un sentido de culto. Passionate, they film day and night without rest.

Ricardo Conord starts working as set designer and Mugica takes Kish‘s place as editor.

La muchachada de a bordo, directed by Manuel Romero, is released, with Luis Sandrini, Tito Lusiardo, Santiago Arrieta, José Gola and the debut of Alicia Barrié. Romero establishes himself as a popular director by awakening the interest of crowds that come to the movies.

Leopoldo Torres Ríos premieres his first sound feature, El conventillo de la paloma. It is produced by Julio Joly
José Agustín Ferreyra directs Ayúdame a vivir, starring Libertad Lamarque. Produced by: SIDE.
Luis César Amadori directs his debut feature, Puerto nuevo. Produced by: Argentina Sono Film.

1937

The first censored film

Tres argentinos en parís, directed by Manuel Romero, is the first film to be censored in the country under the pretext that its characters are bohemian party people who “damage Argentine prestige”. It was finally released in 1938 in its original version, under the title “Tres anclados en París”

With Manuel Romero as director was premiered:
Los muchachos de antes no usaban gomina, with the debut of Hugo del Carril, accompanied by Florencio Parravicini, Mecha Ortiz, Santiago Arrieta and Irma Córdoba. A brilliant and colorful evocation of a “porteño” generation.
El cañonero de Giles, starring Luis Sandrini, Luisa Vehil, Marcos Caplán and Héctor Quintanilla.
Fuera de la ley, with Luis Arata, José Gola e Irma Córdoba. Cinematographer: Gerardo Húttula, a German born summoned by Lumiton
La vuelta de Rocha, with Mercedes Simone, Pedro Maratea, Alicia Berrié and Tito Lusiardo.

George Andreani, Polish composer and orchestra conductor, joins Lumiton

Daniel Tinayre directs Mateo, “, a Baires Studios production filmed at Lumiton.
Pampa Film, a partnership between Warner Bros. and Olegario Ferrando, is founded. Lumiton distributes its films.
The Connio family, founders of Laboratorios Ales, bring the photographic quality of film development to international standards. They import the first Union Klangfilm moviola

Mario Soffici releases “Viento norte”, in which he applies these advances in photography and editing that allow new rhythmic values to be achieved in the story. Produced by: Argentina Sono Film.

Luis Saslavsky premieres “La fuga”, with Francisco Petrone and Tita Merello. Produced by: Pampa Film. Produced by: Pampa Film.

1938

The silver cup

La chismosais the first Argentine film to participate in the Venice Film Festival, where Susini (who co-directed with Luis Marquina) is awarded with the “Silver Cup”, making him the first Argentinean director to receive an international award. It stars Lola Membrives, José Olarra, Amanda Varela, Augusto Codecá and Milagros de la Vega.

Niní Marshall gives life to Catita in Mujeres que trabajan, directed by Manuel Romero. The cast includes Alita Román, Enrique Roldán, Mecha Ortiz, Tito Lusiardo, Pepita Serrador, Alicia Barrié and Sabina Olmos.

Paulina Singerman debuts in La rubia del camino, alongside Enrique Serrano, Marcelo Ruggero and Sabina Olmos. Directed by Manuel Romero and inspired by Frank Capra’sIt happened one night (1934), starring Clark Gable y Claudette Colbert.

Directed by Luis Bayón Herrera Jettatore premiers, with Tito Lusiardo, Enrique Serrano, Severo Fernández, Pedro Quartucci and Benita Puértolas.

Sucesos Argentinos is the first Argentine film newsreel to be screened beginning the program.

Mario Soffici premieres Kilómetro 111, with Pepe Arias. This film marks the beginning of social cinema. Produced by: Argentina Sono Film.

Leopoldo Torres Ríos premieres La vuelta al nido, with José Gola and Amelia Bence, considered the first intimist film. Produced by: EFA.

Callejón sin salida, Elías Alippi’s debut feature film, is released. Produced by: Corporación Cinematográfica Argentina.

1939

The bourgeois comedy

Francisco Mugica premieres his opera prima, Margarita, Armando y su padre, with Florencio Parravicini and Mecha Ortiz, giving birth to the bourgeois comedy. Mugica is characterized by his romanticism and the balance between sensitivity and humor.

That same year his second film, Así es la vida, was released. Starred by Enrique Muiño, Elías Alippi, Enrique Serrano, Sabina Olmos, Arturo García Buhr, Niní Gambier and Felisa Mary, it is considered one of the best films of all times.

With Manuel Romero as director was premiered:

La vida es un tango, with Florencio Parravicini, Tito Lusiardo, Hugo del Carril and Sabina Olmos.

La modelo y la estrella, with Alita Román, Fernando Borel, June Marlowe and Marcelo Ruggero.
Divorcio en Montevideo, with Enrique Serrano, Niní Marshall, Sabina Olmos, Marcelo Ruggero, Hilda Sour, Roberto García Ramos and Nélida Bilbao.
Muchachas que estudian, with Sofía Bozán, Enrique Serrano, Alicia Vignoli, Delia Garcés, Pepita Serrador and Alicia Barrié.

Enrique Susini, is hired by the Italian production company Excelsa Film and directs the film Finisce sempre cosi with Vittorio De Sica and Nedda Francy.

Mario Soffici premieres Prisioneros de la Tierra, with Francisco Petrone and Angel Magaña, who replaces José Gola, who died during the shooting. Produced by: Pampa Film.

Luis Saslavsky premiers Puerta Cerrada, with Libertad Lamarque. Produced by: Argentina Sono Film.

With the creation of municipal awards for the best films, cinema is recognized as a means of spreading Argentinean art, culture, and thinking.

1940

Success in United Stats and Mexico

Lucas Demare premiers Chingolo, with Luis Sandrini. Produced by: Pampa Film.
Enrique Santos Discépolo premiers Caprichosa y millonaria, with Paulina Singerman. Produced by: SIDE.
Arturo S. Mom premiers Petróleo, Estudios San Miguel’s first film.
USA. reduces exports of virgin material to Argentina, in response to the neutral position assumed in World War II.

1941

Mirtha Legrand and his first leading role

Mirtha Legrand, just 14 years old, plays her first leading role in Los martes orquídeas, sided by Enrique Serrano and Juan Carlos Thorry. The film, directed by Mugica, is a public and critical success.

It was awarded the prize for best film and plot by the Academy of Motion Picture Arts and Sciences of Argentina.

Alfredo Traverso makes his debut as director of photography at the studios.

A year later the book, by Pondal Ríos and Olivari, would be acquired by Columbia Pictures to produce the adaptation You where never lovelier with Fred Astaire and Rita Hayworth.

With Francisco Mugica the following films are released:
El mejor papá del mundo, with Elías Alippi, Ángel Magaña, Nury Montsé and Hugo Pimentel.
Persona honrada se necesita, with Francisco Petrone, Alicia Vignoli, Marcelo Ruggero and Pedro Maratea.

With Manuel Romero as director the forllowing films are released:
Un bebé de París, with Paulina Singerman, Enrique Serrano, Ernesto Raquén, Segundo Pomar, María Esther Podestá and Teresa Serrador.
Yo quiero ser bataclana, with Niní Marshall, Juan Carlos Thorry, Alicia Barrié, Sabina Olmos, Enrique Roldán, Segundo Pomar, Roberto Blanco, Rosa Martín, Juan D’Arienzo and Estela Taylor.
El tesoro de la isla Maciel, with Luis Arata, Severo Fernández, Alberto Bello, Silvana Roth and Juan Mangiante.

Mi amor eres tú, with Paulina Singerman, Arturo García Buhr and Severo Fernández.
Enrique Susini directs Embrujo, with Alicia Barrié, Santiago Gómez Cou, Jorge Salcedo and Pepita Serrador.
With Carlos Hugo Christensen as director Águila blanca is released, starring Francisco Petrone, Pablo Palitos, Felipe Romito, Eduardo Cuitiño, Celia Podestá and Tito Alonso.

1942

First Argentine horror film

With Manuel Romero as director, the following films are premiered
Una luz en la ventana, the first Argentine horror movie, with the film debut of Narciso Ibañez Menta, sided by Juan Carlos Thorry, Irma Córdoba and Severo Fernández.
Ven, mi corazón te llama, with Elvira Ríos, Tito Lusiardo, Alicia Barrié and Elena Lucena.
Historia de crímenes, with Narciso Ibáñez Menta, Zully Moreno, Severo Fernández, Nury Montsé and Osvaldo Miranda.

With Francisco Mugica the following films are released:
Adolescencia, with Ángel Magaña, Mirtha Legrand, Rufino Córdoba and Felisa Mary.
El pijama de Adán, with Enrique Serrano, Juan Carlos Thorry, Tilda Thamar and Zully Moreno.
El viaje, with Mirtha Legrand, Roberto Airaldi, Aída Luz and Silvana Roth.

With Carlos Hugo Christensen as director the following films are premiered:
Noche de bodas, with Paulina Singerman, Enrique Serrano, Irma Córdoba and Felisa Mary.
Los chicos crecen, with Arturo García Buhr, Santiago Gómez Cou, María Duval and Pepita Serrador.
La novia de primavera, with María Duval, Roberto Airaldi and Norma Castillo.

With Antonio Cunill Cabanillas as director, Locos de Verano premiers, with Eva Franco, Enrique Serrano, Irma Córdoba and Arturo García Buhr.

Lucas Demare premieres La Guerra Gaucha, an all-time classic, with Enrique Muiño, Francisco Petrone, Ángel Magaña and Amelia Bence. Produced by: Artistas Argentinos Asociados.

Industry record: 57 films are released

1943

New stage in the gong production company

Carlos Hugo Christensen establishes himself as a director and begins a new stage of the gong production company. His films cover different genres, ranging from classic comedy to erotic and detective films.

With Carlos Hugo Christensen as director the following films are premiered:
Dieciséis años, with María Duval, Alicia Barrié, George Rigaud, Mariana Martí and Amalia Sánchez Ariño.
Safo, historia de una pasión, with Mecha Ortiz, Roberto Escalada, Eduardo Cuitiño, Guillermo Battaglia and Mirtha Legrand.

With Manuel Romero as director the forllowing films are released:
El fabricante de estrellas, with Pepe Arias, Tito Lusiardo, Alicia Barrié and Carmen del Moral.
La calle Corrientes, with Tito Lusiardo, Severo Fernández, Elena Lucena, Alberto Anchart and Carmen del Moral.

With Francisco Mugica the following films are released:
La hija del ministro, with Enrique Serrano, Silvana Roth, Juan Carlos Thorry and Osvaldo Miranda.
La guerra la gano yo, with Pepe Arias, Ricardo Passano, Alberto Contreras, Virginia Luque and Gogó Andreu.
El espejo, with Mirtha Legrand, Roberto Airaldi and Alicia Barrié.

With Luis Mottura as director the following films are premiered:
Punto negro, with Pepita Serrador, Santiago Arrieta, Pedro Quartucci and Miguel Gómez Bao.

 

Niní Marshall plays Carmen in the film of the same name by Luis César Amadori. Produced by: Argentina Sono Film.

1944

Lumiton begins to manufacture celluloid

In partnership with engineers Raúl Orzábal and Andrés Noiseaux, founding the company DELTA, Lumiton begins to manufacture celluloid. They produce positive for laboratory work by re-emulsifying old films.

Mario C. Lugones releases his debut film, Se rematan ilusiones, with José Olarra, Tito Gómez, Miguel Gómez Bao, Virginia Luque and Ana Arneodo.

With Carlos Hugo Christensen as director La pequeña Señora de Pérezis relaased, with Mirtha Legrand and Juan Carlos Thorry.

With Francisco Mugica as director Mi novia es un fantasmais released, with Mirtha Legrand, Pepe Iglesias, Nury Montsé and Osvaldo Miranda.

The first Argentine film union, A.G.I.C.A., is created. The first board of directors is formed with Francisco Hipólito Uzal, a member of Lumiton’s staff.

Lucas Demare premieres “Su mejor alumno”, with Enrique Muiño, on the figure of Sarmiento. Produced by Artistas Argentinos Asociados. Produced by: Artistas Argentinos Asociados.

Pierre Chenal premiers El muerto falta a la cita. Produced by: Artistas Argentinos Asociados.

García Buhr premiers his debut feature, Delirio. Produced by: Pampa Film.

1945

End of World War II

With Carlos Hugo Christensen as director the following films are premiered:
Las seis suegras de Barba Azul, with the debut of Susana Freyre, who would eventually become one of his emblematic actresses and also Christensen’s wife.
El canto del cisne, with Mecha Ortiz, Roberto Escalada, Miguel Gómez Bao and Nicolás Fregues.
La señora de Pérez se divorcia, with Mirtha Legrand, Juan Carlos Thorry, Miguel Gómez Bao and Felisa Mary.

With Luis Mottura as director Rigobertopremiers, with Enrique Serrano, Rafael Frontaura, Felisa Mary and Silvana Roth.

World War II ends, but complications continue for obtaining virgin film.
The DELTA factory fails to prosper and closes.
Luis Saslavsky premiers dama duende. Produced by: Artistas Argentinos Asociados.
Lucas Demare and Hugo Fregonese release Pampa bárbara. Produced by: Artistas Argentinos Asociados.

1946

First nude of Argentine cinema

With Carlos Hugo Christensen as director the following films are premiered:
El ángel desnudo, with Olga Zubarry. Her starring role in the first “nude” of Argentine cinema establishes her as the first star of national erotic cinema. She is sided by Guillermo Battaglia, Carlos Cores y Eduardo Cuitiño.

Adán y la serpiente, with Enrique Serrano, Tilda Thamar, Tito Gómez, Héctor Méndez and Olga Casares Pearson.

The following films are released:
Deshojando Margaritas, directed by Francisco Mugica, with Enrique Serrano and Irma Córdoba.
No salgas esta noche, directed by Arturo García Buhr, with Enrique Serrano, Alicia Barrié, Arturo García Buhr and Tilda Thamar.
Un beso en la nuca, directed by Luis Mottura, with Mirtha Legrand, Roberto Escalada, Pedro Quartucci and María Esther Podestá

Donde mueren las palabrasis released, directed by Hugo Fregonese.
Produced by: Artistas Argentinos Asociados.

1947

Susana Freyre consecrates

With Carlos Hugo Christensen as director the following films are premiered:
Con el diablo en el cuerpo, with Susana Freyre, who consecrates herself thanks to her mischievousness and charm. Sided by Juan Carlos Thorry, Amelita Vargas and Guillermo Battaglia.
Los verdes paraísos, with Aída Luz, Guillermo Battaglia, Eduardo Cuitiño and Carlos Thompson.

With Luis Mottura as director 30 segundos de amoris released, with Mirtha Legrand, Roberto Escalada, Diego Martínez, Felisa Mary and Miguel Gómez Bao.

Scripts that adapt foreign texts and themes predominate in the search to reconquer international markets.

El retrato, a witty comedy in which Carlos Shlieper directs Mirtha Legrand, is premiered. Produced by Emelco. Produced by: Emelco.

 

1948

New dynamics in filming

With Carlos Hugo Christensen as director the following films are premiered:
Los pulpos, with Olga Zubarry, Roberto Escalada, Nicolás Fregues and Carlos Thompson. Taking advantage of the arrival of the first Arriflex portable camera in Argentina, Christensen uses real Buenos Aires sceneries to film, which gives a new dynamic and a greater spontaneity to the filming.
Una atrevida aventurita, with Susana Freyre, Roberto Escalada and Felisa Mary.
La muerte camina en la lluvia, with Olga Zubarry, Guillermo Battaglia, Eduardo Cuitiño, Amalia Sánchez Ariño and Nicolás Fregues.

Novio, marido y amante, directed by Mario C. Lugones, starring Enrique Serrano, Tilda Thamar, Tito Gómez and Miguel Gómez Bao.

Dios se lo pague, directed by César Luis Amadori, with Zully Moreno and Arturo de Córdova Produced by: Argentina Sono Film.

1949

Few hits

Carlos Hugo Christensen premieres his last film for Lumiton La trampa, with Zully Moreno, George Rigaud, Juana Sujo and Carlos Thompson. Then among others, Christensen heads to Venezuela to start the film activities of Bolívar Films.

Lumiton has few hits. Filming becomes more and more expensive due to the new conditions achieved by the unions. The old enthusiastic group dissolves. With Susini gone and Oyarzábal deceased, Guerrico decides to sell the shares.

José Martínez Suárez debuts as Assistant Director to director Mario C. Lugones.

The following films are released:
¿Por qué mintió la cigüeña?directed by Carlos Hugo Christensen, starring Susana Freyre, Roberto Escalada, Pedro Quartucci, Nelly Darén and Gloria Ferrandiz.
Morir en su ley, directed by Manuel Romero, with Tita Merello, Roberto Escalada, Juan José Miguez and Fanny Navarro.
Yo no elegí mi vida, directed by Antonio Momplet, with Arturo de Córdova, Olga Zubarry, Enrique Santos Discépolo, Guillermo Battaglia and Alberto Bello.

With Mario C. Lugones as director the following films are premiered:
Miguitas en la cama, with Enrique Serrano, Amelita Vargas, Alicia Barrié, Florindo Ferrario and Elsa del Campillo.
Un hombre solo no vale nada, with Enrique Serrano, Amelita Vargas and Miguel Gómez Bao.
Un pecado por mes, with Susana Canales, Norma Giménez, Hugo Pimentel and Miguel Gómez Bao.

Hugo Fergonese renews the police genre with Apenas un delincuente, with Jorge Salcedo. Produced by: Productora Interamericana.

Luis Saslavskky premieres Vidalita, with Mirtha Legrand and Narciso Ibáñez Menta. Produced by: Emelco.

1950

The problems continue

The film industry continues to face economic problems despite protectionist laws. Lumiton, now in the hands of a partnership headed by Néstor Maciel Crespo, makes low-budget films in record time.

Manuel Romero directs his last Lumiton film, “Valentina”, with Olga Zubarry, Juan José Míguez, Elena Lucena and Severo Fernández.

The following films are released:
Filomena Marturano, directed by Luis Mottura, with Tita Merello, Guillermo Battaglia, Gloria Ferrandiz, Alberto de Mendoza and Tito Alonso.
¿Vendrás a media noche?directed by Arturo García Buhr, with Enrique Serrano, Guillermo Battaglia, Maruja Gil Quesada and Susana Campos.
Abuso de confianza, directed by Mario C. Lugones, with Olga Zubarry, Manuel Collado Montes, María Armand and Carlos Thompson.
Cinco locos en la pista, directed by Augusto César Vatteone, with Los Cinco Grandes del Buen Humor.

Leopoldo Torre Nilsson premieres his first film, “El crimen de Oribe”, co-directed with his father, the acclaimed Leopoldo Torres Ríos. Inspired by a story by Bioy Casares, this film gives rise to the resurgence of intellectual cinema. Produced by: Estudios Mapol y Cinematográfía Independencia.

Laboratorios Alex inaugurates its new and modern facilities in Núñez.

1951

First cooperative production

With Mario C. Lugones as director the following films are premiered:
Cartas de amor, with Mecha Ortiz, Roberto Escalada, Elisa Christian Galvé, Eduardo Cuitiño and Isabel Pradas.
La mujer del león, with Amelita Vargas, Héctor Calcaño, Carlos Castro “Castrito”, María Esther Gamas and Miguel Gómez Bao.

The following films are released:
El complejo de Felipe, directed by Juan Carlos Thorry, with Enrique Serrano, Elina Colomer, Diana Maggi and Osvaldo Miranda.
Una noche cualquiera, directed by Luis Mottura, with Pepe Arias, Elena Lucena, Mario Fortuna and Gregorio Cicarelli.
De turno con la muerte, directed by Julio Porter, with Roberto escalada, Silvana Roth, Eduardo Cuitiño and Enrique Chaico.

Antonio Ber Ciani directs Martín Pescador, considered the first Argentine film produced in cooperative. With Enrique Serrano, Francisco Álvarez, Elsa del Campillo, Oscar Freyre and Beatriz Taibo.

Enrique Telémaco Susini directs the first television broadcast in Argentina. In time, TV would become the major broadcaster of Lumiton’s films, ensuring their permanence in popular memory over the years.
Los isleros, by Lucas Demare, is a hit. With Tita Merello and Arturo García Buhr. Produced by: Estudios San Miguel.

John Alton wins the Academy Award for best cinematography for Vincent Minnelli’s “An American in Paris”.

1952

Intervention of Justice

Luis Mottura directs Mi hermano Esopo, with Mario Fortuna, Gregorio Cicarelli, Pierina Dealessi and Susana Campos.

Lumiton Studios is intervened by the justice system. Lucas Demare is forced to interrupt the shooting of “Un guapo del 900”, due to the bankruptcy of the gong production company, which will remain closed until 1955. Years later, Leopoldo Torre Nilsson and Lautaro Murúa made their own versions of the film.

Hugo del Carril premiers Las aguas bajan turbias. Produced by: DC-B.

Carlos Hugo Christensen premieres two police films: Si muero antes de despertar and No abras nunca esa puerta. Produced by: Estudios San Miguel.

Ernesto Remani premiers El gaucho y el diablo. Produced by: Emelco y Transamérica Films.

1955

Gong Cooperative

In 1955, Lumiton employees found the Gong Cooperative as a source of employment. They rent the sets and do some production of their own.

1960

The end of the golden age

After the judicial intervention, Lumiton is taken over by a Foundation. The studios are rented and few films are released under the label. The last one, Las Furias (1960), by Vlasta Lah, is the first sound film directed by a woman.

It is the end of the golden age and the beginning of the new Argentine cinema known as the Generation of the 60s.