History

LOS LOCOS DE LA AZOTEA

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

“Ladies and gentlemen, Radio Argentina Society presents today the Sacred Festival of Richard Wagner, Parsifal, featuring the performances of tenor Maestri, baritone Aldo Rossi Morelli, and Argentine soprano Sara César, all accompanied by the orchestra of the Costanzi Theatre in Rome, conducted by Felix von Weingartner.

THE ROOFTOP MADMEN

We were doctors dedicated to studying the electrical effects in medicine, and also well-informed radio enthusiasts who were at the forefront. But, above all, we were imaginative individuals, passionate about music and theater, and that’s what led us to envision this marvelous invention as the most extraordinary tool for cultural dissemination.”

– Enrique Telémaco Susini –

 

 

They formed a successful partnership under the acronym S.A.R.A. and continued broadcasting organized programs, in which Susini used his language skills and vocal control to portray different fictional guests who not only speak, but also sing and recite poems.

 

Radio Argentina is the world’s first radio station. Later, with their new company Vía Radiar, they innovate by establishing long-distance communications using shortwave. Los Locos de la Azotea are at the forefront in global communications.

 

After raising a substantial sum by selling Via Radiar, Los Locos de la Azotea invested their capital in the development of the film industry. They travel and study the model of sound film production in Hollywood.

On October 31, 1931, they acquired the estate called La Algovia (1919, architect Kronfus), previously owned by the Zeller family. Together with architect Conord (who would later become a set designer) they built the studios, which were inaugurated the following year. They created S.A. Radiocinematográfica Argentina Lumiton (Light and Sound). The mansion in Munro thus became the legendary Casa de las estrellas (House of the Stars).

 

Independence and self-sufficiency in all areas and stages of production placed Lumiton at the forefront. It was here that the first Argentinian sound film Los Tres Berretines (1933) was made, followed by hundreds of productions, including those produced by the Gong label and those that passed through the studios.

ENRIQUE TELÉMACO SUSINI

Buenos Aires, Argentina
January 31, 1891 – April 7, 1972

At the age of 14, he finished high school at Colegio Nacional de Buenos Aires and traveled with his family to Vienna when his father (Telémaco Susini, the first otorhinolaryngologist in the country and an outstanding scientific researcher) was appointed consul. He enrolled in Medical School in Vienna while also teaching violin and singing at the Imperial Conservatory. He studies physics and chemistry in Paris and Berlin. He returned to Buenos Aires and studied medicine at the University of Buenos Aires. At the age of 23 he graduated after an award-winning thesis. In Europe, he specialized in otorhinolaryngology and introduced 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 was hired by the Navy to carry out scientific research and received the National Award for Scientific Production. As a radio enthusiast, his practice was more than a hobby, it was a passion through which he investigated and transformed the world.

Starting with the first radio transmission with Los Locos de la Azotea, he became the first radio announcer in history. Later, he continued to innovate with the long-distance telecommunications company Vía Radiar. Alongside Los Locos de la Azotea, he co-founded Estudios Lumiton.

Susini became the first Argentinian 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 met Alicia Arderius, his future wife, who would 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 in Argentina took place, with Susini being  the one who recorded and documented the event as General Director and cameraman, later assuming the artistic direction of Channel 7.

 

He is the author and director of Madama Lynch, the first Argentinan musical. He presided over the Sociedad de Empresarios Teatrales (Society of Theater Entrepreneurs).

He wrote  and directed numerous plays in theaters such as La Scala in Milan. As a member of the Administrative Commission of Teatro Colón, he established stable casts and schools. He was the director of the First Film Festival of Mar del Plata and a board member of the Argentinian Association of  Film Directors. He was 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 continued 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 | May 10, 1901
Los Angeles, USA | February 2, 1996

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

He arrived in Buenos Aires on April 20, 1932 to join the Lumiton team. After marrying the Argentinian journalist Rozalia Kiss, Alton settled in the country for 7 years. He moved from Lumiton to Argentina Sono Film, contributing to the development of the Argentinian Film industry.

Later, he returned to Hollywood, where he had an extensive career and was known as one of the key figures in film noir. In 1951 he received an Oscar for his first color film, An American in Paris, directed by Vincent Minnelli.

“I met some Argentinian millionaires who were planning to build a studio in Argentina. They asked me to design it, so I asked for a one-year leave in Joinville. I went to Argentina, we built a studio, and I made a film. But in the meantime, I got married.”

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Ladislao (Lazlo) Kish

Debrecen, Hungrary | February 15, 1904 – 1990

He arrived in Buenos Aires on July 31, 1932, summoned by the new Lumiton Studios as a film editor. A pioneer in the layout of Argentinian sound films, he is the first editor for Lumiton and the editor of Los Tres Berretines. Francisco Mugica, his successor, learned the art of editing from Kish. He later returned to Europe and worked as a director and scriptwriter in Italian cinema during the 1940s and 1950s.

 

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 1935 the iconic image of the production company was incorporated: The Gong Man, portrayed by the first dancer of the Teatro Colón, Michel Borowsky.

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 Argentina was partly a creation of Lumiton, and the first to be recognized as such is Luis Sandrini, starting with 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 the guidance of great directors.

Manuel Romero, known for his popular comedies; Francisco Mugica and his sophisticated dramas and romantic comedies;

Carlos Hugo Christensen, pioneer of erotic cinema and author of successful crime films, to name only three great ones, are among the directors whose filmography stands out in the Gong production company. Their black and white photography, influenced by the master John Alton, used a cosmetic setting of light and dramatic shadows. Lumiton marked the years of glamour, grand sets, attention to detail in art, costumes and make-up, and exquisite props.

Línea de Tiempo

1931

The “Locos de la Azotea,” Enrique Telémaco Susini, César José Guerrico, and Luis Romero Carranza, embark on a new adventure. Drawn by the novelty of Hollywood’s sound cinema, they travel there with the intention of bringing it to Argentina. They purchase a complete filming setup from Bell & Howell.

Upon returning to the country, they search for a property that would allow them to establish the design and production model of MGM. They acquire the estate known as La Algovia, owned by the Zeller family, located at Av. Mitre 2351 in Munro (Buenos Aires). Here, they establish the Sociedad Anónima Radio Cinematográfica Argentina Lumiton, with a capital of $300,000. Raúl Orzábal Quintana, joins the company and builds the sound equipment.

1932
17
DIC

Lumiton Studios were inaugurated (Lumi: light + ton: sound), the country’s first modern studios. The project, led by architect Ricardo Conord, is a localized rendition of what they had observed in Hollywood, featuring an initial film studio and a laboratory.

Lumiton sought the expertise of two prominent figures from the international film scene as consultants: director of photography John Alton, a Hungarian-American who had worked at MGM and Paramount, alongside Hungarian film editor Ladislao (Lazlo) Kish. Jorge Carlos Lemos takes charge of the laboratory. A passionate young cinephile, Francisco Mugica, joins the team.

1933
19
MAY

On May 19th, Lumiton premiered its first film at Cine Astor: Los Tres Berretines, starring Luis Arata, Luis Sandrini, and Luisa Vehil. The film stands out for its high-quality sound and crisp photography, which, combined with the charm of Luis Sandrini, draws audiences to the cinema for the first time. This adaptation of the theatrical hit costs $18,000 to produce and generates over a million in revenue.

Sandrini is paid $600 and the wig he uses to portray the character that establishes him as the first Argentinian film star. Regarded as Argentina’s first fictional sound film, this movie proudly carries a credit that reflects the philosophy unique to these studios: “Direction: Equipo Lumiton“.

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

1934

En la tierra del Guarán was released. This documentary film, shot during the Chaco War, marks a first by incorporating optical sound and is made in collaboration with Paraguay.

Ayer y hoy is premiered, starring Miguel Faust Rocha and Alicia Vignoli, once again under the direction of the Lumiton Team. As it did not achieve the anticipated success, the studio seeks a new director who understands the target audience. Francisco Oyarzábal introduces them to Manuel Romero, one of the creators of the prominent Buenos Aires magazine and a successful figure in theater. Romero has also served as an assistant director and co-screenwriter with Bayón Herrera for Luces de Buenos Aires, featuring Carlos Gardel. Simultaneously, Oyarzábal joins Lumiton as an executive producer, becoming a pivotal figure in the studio’s development.

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, mesmerized by the voice of Zorzal Criollo, forced the projections to be interrupted to listen to him again.

1935

The construction of the laboratory and micro-cinema is completed. In the face of the lengthy shooting days at the studios, the prominent figures transform the mansion into La Casa de las Estrellas (The House of the Stars). The iconic image of the studio, The Man with the Gong, portrayed by the first dancer of the Teatro Colón, Michel Borowsky, is introduced.

Manuel Romero premieres his first Lumiton film, Noches de Buenos Aires, starring Fernando Ochoa, Tita Merello, Severo Fernández, Irma Córdoba, Enrique Serrano, and Aída Olivier. This crime melodrama boasts comedic elements and solid technique.

Romero desired to incorporate Gardel, and he wrote El caballo del pueblo thinking of him for one of the roles. However, when Gardel was about to fly to Buenos Aires to begin filming, an accident in Medellin caused his death. Lumiton decides to hire young actor and jazz singer Juan Carlos Thorry as a replacement. He is accompanied by Olinda Bozán, Irma Córdoba, Enrique Serrano and Pedro Quartucci. This story set in the world of horse racing features an agile pace, along with touches of comedy and musical elements.

The film themes mirror the Argentinian character and way of feeling and, with the incorporation of tango and the 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

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). Se reinvierte en Lumiton todo el capital generado por el éxito de los films: se termina un cuarto estudio, se amplía el laboratorio, se organizan talleres con el material escenográfico y todas las áreas necesarias de un gran estudio.

Lumiton se caracteriza por su forma de trabajo colectivo y crea una comunidad que le da al séptimo arte un sentido de culto. Apasionados, filman día y noche sin descanso, especialmente bajo la dirección de Manuel Romero.

Ricardo Conord comienza a trabajar como escenógrafo y Mugica toma el lugar de Kish como montajista.

Se estrena La muchachada de a bordo, dirigida por Manuel Romero, con Luis Sandrini, Tito Lusiardo, Santiago Arrieta, José Gola y el debut de Alicia Barrié. Romero se instala como director popular al despertar el interés de multitudes que se acercan al cine.

Leopoldo Torres Ríos estrena su primer largometraje sonoro, El conventillo de la paloma. Produce Julio Joly.

José Agustín Ferreyra dirige Ayúdame a vivir, protagonizada por Libertad Lamarque. Produce: SIDE.
Luis César Amadori dirige su ópera prima, Puerto nuevo. Produce: Argentina Sono Film.

1937

Tres argentinos en París, directed by Manuel Romero, becomes the country’s first censored film, on the pretext that its characters, described as bohemian revelers, “damage the reputation of Argentina.” It is ultimately released in 1938 in its original version under the title Tres anclados en París.

Under Manuel Romero’s direction, the following films are premiered:
Los muchachos de antes no usaban gomina, featuring the debut of Hugo del Carril alongside Florencio Parravicini, Mecha Ortiz, Santiago Arrieta, and Irma Córdoba. A brilliant and colorful depiction of a Buenos Aires generation. El cañonero de Giles, starring Luis Sandrini, Luisa Vehil, Marcos Caplan, and Héctor Quintanilla. Fuera de la ley, with Luis Arata, José Gola, and Irma Córdoba. Cinematography by Gerardo Húttula, a German brought in by Lumiton. La vuelta de Rocha, featuring Mercedes Simone, Pedro Maratea, Alicia Barrié, and Tito Lusiardo.

Lumiton welcomes George Andreani, a Polish composer and orchestra conductor, into its ranks.


Daniel Tinayre directed Mateo, a Baires Studios production that was filmed at Lumiton. During this time, Pampa Films, a partnership between Warner Bros. and Olegario Ferrando, is founded, and Lumiton handles the distribution of its films.
The Connio family, founders of Laboratorios Alex, elevated the photographic quality of film development to international standards. They imported the first Union Klangfilm moviola.
Mario Soffici released Viento norte, in which he applied these advances in photography and editing that allow new rhythmic values to storytelling. Produced by: Argentina Sono Film.
Luis Saslavsky premiered La fuga, with Francisco Petrone and Tita Merello. Produced by: Pampa Films.

1938

La chismosa, co-directed by Susini and Luis Marquina, is showcased at the Venice Film Festival. The cast includes Lola Membrives, José Olarra, Amanda Varela, Augusto Codecá, and Milagros de la Vega.

Niní Marshall brings Catita to life in Mujeres que trabajan, directed by Romero. The cast features Alita Román, Enrique Roldán, Mecha Ortiz, Tito Lusiardo, Pepita Serrador, Alicia Barrié, and Sabina Olmos. Paulina Singerman makes her debut in La rubia del camino, alongside Enrique Serrano, Marcelo Ruggero, and Sabina Olmos. Directed by Manuel Romero and inspired by Frank Capra’s It Happened One Night (1934), featuring Clark Gable and Claudette Colbert.

Under the direction of Luis Bayón Herrera, Jettatore is premiered, starring Tito Lusiardo, Enrique Serrano, Severo Fernández, Pedro Quartucci, and Benita Puértolas.

Sucesos argentinos was the first Argentinian film newsreel to be screened at the beginning of the program.
Mario Soffici premiered Kilómetro 111, with Pepe Arias. This film marks the inception of social cinema. Produced by: Argentina Sono Film.
Leopoldo Torres Ríos premiered 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, was released. Produced by: Corporación Cinematográfica Argentina.

1939

Francisco Mugica debuts with his first film: Margarita, Armando y su padre, starring Florencio Parravicini and Mecha Ortiz, marking the beginning of bourgeois comedy. Mugica’s signature lies in his romanticism and the balance between sensitivity and humor.

In the same year, he releases his second film: Así es la vida, featuring Enrique Muiño, Elías Alippi, Enrique Serrano, Sabina Olmos, Arturo García Buhr, Niní Gambier, and Felisa Mary. This film is considered one of the best Argentinian films of all time.

Under Manuel Romero’s direction, the following films are premiered:
La vida es un tango, starring Florencio Parravicini, Tito Lusiardo, Hugo del Carril, and Sabina Olmos. La modelo y la estrella, featuring Alita Román, Fernando Borel, June Marlowe, and Marcelo Ruggero. Divorcio en Montevideo, starring 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 was hired by the Italian production company Excelsa Film, and directs the film Finisce sempre cosi with Vittorio De Sica and Nedda Francy.
Mario Sofici premiered Prisioneros de la tierra, with Francisco Petrone and Angel Magaña, who replaced José Gola, who died during the shooting. Produced by: Pampa Films.
Luis Saslavsky premiered Puerta cerrada, with Libertad Lamarque. Produced by: Argentina Sono Film.
With the creation of municipial awards for the best films, cinema was recognized as a means of spreading Argentinian art, culture, and thinking.

1940

Lumiton’s films are exhibited with great success in the United States and Mexico. Carlos Hugo Christensen is summoned to Lumiton by Guerrico and directs El inglés de los güesos, his directorial debut, featuring Arturo García Buhr, Anita Jordán, and Pedro Maratea.

Under the direction of Manuel Romero, the following films are premiered:
Casamiento en Buenos Aires, starring Niní Marshall, Enrique Serrano, Sabina Olmos, Alberto Bello, and Marcelo Ruggero. Isabelita, featuring Paulina Singerman, Tito Lusiardo, Sofía Bozán, and Juan Carlos Thorry. Los muchachos se divierten, starring Enrique Serrano, Sabina Olmos, Sofía Bozán, Carmen del Moral, Alicia Barrié, Benita Puértolas, Enrique Roldán, and Marcelo Ruggero. Carnaval de antaño, with Florencio Parravicini, Sofía Bozán, Sabina Olmos, and Charlo. Luna de miel en Río, featuring Niní Marshall, Tito Lusiardo, Enrique Serrano, Alicia Barrié, Juan Carlos Thorry, and Enrique Roldán.

Under the direction of Francisco Mugica, the following films are premiered:
El solterón, starring Fanny Navarro, Enrique Serrano, and Juan Carlos Thorry. Medio millón por una mujer, featuring Eva Franco, Elías Alippi, Enrique Serrano, and Teresa Serrador.

 

 

 

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.

 

Lucas Demare premiered Chingolo, with Luis Sandrini. Produced by: Pampa Films.
Enrique Santos Discépolo premiered Caprichosa y millonaria, with Paulina Singerman. Produced by: SIDE.
Arturo S. Mom premiered Petróleo, Estudios San Miguel’s first film.

The United States reduced exports of virgin material to Argentina, in response to Argentina’s neutral position during World War 1.

1941

Mirtha Legrand, at just 14 years old, takes on her first leading role in Los martes, orquídeas, alongside Enrique Serrano and Juan Carlos Thorry. The film, directed by Mugica, became a hit with both the audience and critics. It was awarded the Best Film and Screenplay prize by the Argentinian Academy of Arts and Cinematographic Sciences. Alfredo Traverso makes his debut as the director of photography for the studios. A year later, the book by Pondal Ríos and Olivari was acquired by Columbia Pictures to produce the adaptation You Were Never Lovelier, starring Fred Astaire and Rita Hayworth.

Under the direction of Francisco Mugica, the following films are premiered:
El mejor papá del mundo, featuring Elías Alippi, Ángel Magaña, Nuri Montsé, and Hugo Pimentel. Persona honrada se necesita, with Francisco Petrone, Alicia Vignoli, Marcelo Ruggero, and Pedro Maratea.

Under the direction of Manuel Romero, the following films are premiered:
Un bebé de París, featuring 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, starring Luis Arata, Severo Fernández, Alberto Bello, Silvana Roth, and Juan Mangiante. Mi amor eres tú, featuring Paulina Singerman, Arturo García Buhr, and Severo Fernández.

Enrique Susini directs Embrujo, starring Alicia Barrié, Santiago Gómez Cou, Jorge Salcedo, and Pepita Serrador.

Under the direction of Carlos Hugo Christensen, the film Águila blanca is premiered, featuring Francisco Petrone, Pablo Palitos, Felipe Romito, Eduardo Cuitiño, Celia Podestá, and Tito Alonso.

1942

Under the direction of Manuel Romero, the following films are premiered:
Una luz en la ventana, the first Argentinian horror film, featuring the cinematic debut of Narciso Ibáñez Menta, accompanied 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, starring Narciso Ibáñez Menta, Zully Moreno, Severo Fernández, Nury Montsé, and Osvaldo Miranda.

Under the direction of Francisco Mugica, the following films are premiered:
Adolescencia, featuring Ángel Magaña, Mirtha Legrand, Rufino Córdoba, and Felisa Mary. El piyama de Adán, with Enrique Serrano, Juan Carlos Thorry, Tilda Thamar, and Zully Moreno. El viaje, starring Mirtha Legrand, Roberto Airaldi, Aída Luz, and Silvana Roth.

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

Under the direction of Antonio Cunill Cabanillas, the film Locos de verano is premiered, starring Eva Franco, Enrique Serrano, Irma Córdoba, and Arturo García Buhr.

Lucas Demare premiered 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

Carlos Hugo Christensen establishes himself as a director and initiates a new phase for the Lumiton Studios. His cinema covers various genres ranging from classical comedy to erotic and crime films. Under the direction of Carlos Hugo Christensen, 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, starring Mecha Ortiz, Roberto Escalada, Eduardo Cuitiño, Guillermo Battaglia, and Mirtha Legrand.

Under the direction of Manuel Romero, the following films are premiered:
El fabricante de estrellas, with Pepe Arias, Tito Lusiardo, Alicia Barrié, and Carmen del Moral. La calle Corrientes, featuring Tito Lusiardo, Severo Fernández, Elena Lucena, Alberto Anchart, and Carmen del Moral.

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

Under the direction of Luis Mottura, the film Punto negro is premiered, starring Pepita Serrador, Santiago Arrieta, Pedro Quartucci, and Miguel Gómez Bao.

 

Niní Marshall played the lead role in Carmen by Luis César Amadori. Produced by: Argentina Sono Film.

1944

Partnering with engineers Raúl Orzábal and Andrés Noiseaux, Lumiton started producing celluloid by founding the DELTA company. They create positive film for laboratory work by re-emulsifying old movies.

Mario C. Lugones debuts his first film Se rematan ilusiones, starring José Olarra, Tito Gómez, Miguel Gómez Bao, Virginia Luque, and Ana Arneodo

Under the direction of Carlos Hugo Christensen, the film La pequeña señora de Pérez is premiered, starring Mirtha Legrand and Juan Carlos Thorry.

Under the direction of Francisco Mugica, Mi novia es un fantasma is premiered, starring Mirtha Legrand, Pepe Iglesias, Nury Montsé, and Osvaldo Miranda.

The first Argentinian film union, A.G.I.C.A., was created. The first board of directors was formed by Francisco Hipólito Uzal, a member of Lumiton’s staff.
Lucas Demare premiered Su mejor alumno, with Enrique Muiño as Sarmiento. Produced by: Artistas Argentinos Asociados.
Pierre Chenal premiered El muerto falta a la cita. Produced by: Artistas Argentinos Asociados.
García Buhr premiered his debut feature, Delirio. Produced by: Pampa Films.

1945

Under the direction of Carlos Hugo Christensen, the following films are premiered:
Las seis suegras de Barba Azul, featuring the debut of Susana Freyre (who would eventually become one of his iconic actresses and also his wife), Pepe Arias, Guillermo Battaglia, and Amanda Sánchez Ariño. El canto del cisne, starring 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.

Under the direction of Luis Mottura, the film Rigoberto is premiered, starring Enrique Serrano, Rafael Frontaura de la Fuente, Felisa Mary, and Silvana Roth.

World War II ended, but getting virgin film continued to be complicated. The DELTA factory failed to prosper and closed.
Luis Saslavsky premiered Dama duende. Produced by: Artistas Argentinos Asociados.
Lucas Demare and Hugo Fregonese released Pampa bárbara. Produced by: Artistas Argentinos Asociados.

1946

Under the direction of Carlos Hugo Christensen, the following films make their debut: El ángel desnudo, starring Olga Zubarry. Her portrayal in the first “nude” scene of Argentinian cinema solidifies her as the first national erotic film star. She is joined by Guillermo Battaglia, Carlos Cores, and Eduardo Cuitiño. Adán y la serpiente, featuring Enrique Serrano, Tilda Thamar, Tito Gómez, Héctor Méndez, and Olga Casares Pearson.

Also making their debut: Deshojando Margaritas, directed by Francisco Mugica, starring 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, starring Mirtha Legrand, Roberto Escalada, Pedro Quartucci, and María Esther Podestá.

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

1947

Under the direction of Carlos Hugo Christensen, the following films are released: Con el diablo en el cuerpo, featuring Susana Freyre, who establishes herself with her cheekiness and charm. She is accompanied by Juan Carlos Thorry, Amelita Vargas, and Guillermo Battaglia. Los verdes paraísos, starring Aída Luz, Guillermo Battaglia, Eduardo Cuitiño, and Carlos Thompson.

Under the direction of Luis Mottura, the film 30 segundos de amor is released, starring Mirtha Legrand, Roberto Escalada, Diego Martínez, Felisa Mary, and Miguel Gómez Bao.

In the pursuit of regaining a foothold in international markets, scripts that adapt foreign texts and themes take center stage. El retrato, a witty comedy in which Carlos Schlieper directs Mirtha Legrand, is premiered. Produced by: Emelco.

1948

Returning to Carlos Hugo Christensen as director, the following films make their debut: Los pulpos, featuring Olga Zubarry, Roberto Escalada, Nicolás Fregues, and Carlos Thompson. Christensen films in Argentina for the first time using a portable Arriflex camera. Una atrevida aventurita, with Susana Freyre, Roberto Escalada, and Felisa MaryLa muerte camina en la lluvia, starring Olga Zubarry, Guillermo Battaglia, Eduardo Cuitiño, Amalia Sánchez Ariño, and Nicolás FreguesNovio, marido y amante, directed by Mario C. Lugones, with Enrique Serrano, Tilda Thamar, Tito Gómez, and Miguel Gómez Bao.

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

1949

Carlos Hugo Christensen premieres his final film for Lumiton, La trampa, starring Zully Moreno, George Rigaud, Juana Sujo, and Carlos Thompson. Later, along with others, he heads to Venezuela to initiate the cinematic activities of Bolívar Films. Lumiton achieves few successes. Filmmaking becomes increasingly expensive due to new conditions negotiated by unions. The old enthusiastic group starts to disperse; with Susini distant and Oyarzábal deceased, Guerrico decides to sell his shares. José Martínez Suárez makes his debut as Assistant Director under 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 FerrandizMorir en su ley, directed by Manuel Romero, featuring Tita Merello, Roberto Escalada, Juan José Míguez, 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

Under the direction of Mario C. Lugones, the following films are released: Miguitas en la cama, with Enrique Serrano, Amelita Vargas, Alicia Barrié, Florindo Ferrario, and Elsa del CampilloUn hombre solo no vale nada, starring Enrique Serrano, Amelita Vargas, and Miguel Gómez BaoUn pecado por mes, featuring Susana Canales, Norma Giménez, Ricardo de Rosas, and Rosita Martín.

Hugo Fergonese rejuvenates the police genre with Apenas un delincuente, featuring Jorge Salcedo. Produced by: Productora Interamericana.
Luis Saslavsky premieres Vidalita, with Mirtha Legrand and Narciso Ibáñez Menta. Produced by: Emelco.

1950

The film industry continues to face economic issues despite protectionist laws. Lumiton, now under the leadership of a company headed by Néstor Maciel Crespo, produces low-budget films in record time. Manuel Romero directs his final film at Lumiton, Valentina, starring Olga Zubarry, Juan José Míguez, Elena Lucena, and Severo Fernández.

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

Leopoldo Torres Nilson premiered his first film, El crimen de Oribe, which he co-directed with his father, the acclaimed Leopoldo Torres Ríos. Inspired by a story by Bioy Casares, this film marked the revival of intellectual cinema. Produced by: Estudios Mapol y Cinematografía Independencia.
Laboratorios Alex inaugurated its new and modern facilities in Núñez.

1951

Under the direction of Mario C. Lugones, the following films are released: Cartas de amor, starring Mecha Ortiz, Roberto Escalada, Elisa Christian Galvé, Eduardo Cuitiño, and Isabel PradasLa mujer del león, featuring Amelita Vargas, Héctor Calcaño, Carlos Castro “Castrito,” María Esther Gamas, and Miguel Gómez Bao.

The following films are also released: El complejo de Felipe, directed by Juan Carlos Thorry, with Enrique Serrano, Elina Colomer, Diana Maggi, and Osvaldo MirandaUna noche cualquiera, directed by Luis Mottura, starring Pepe Arias, Elena Lucena, Mario Fortuna, and Gregorio CicarelliDe turno con la muerte, directed by Julio Porter, featuring Roberto Escalada, Silvana Roth, Eduardo Cuitiño, and Enrique ChaicoAntonio Ber Ciani directs Martín Pescador, considered the first Argentine film produced as a cooperative effort. Starring Enrique Serrano, Francisco Álvarez, Elsa del Campillo, Oscar Freyre, and Beatriz Taibo.

Enrique Telémaco Susini directed the first television broadcast in Argentina. Over time, television would become the primary broadcaster of Lumiton’s films, ensuring their lasting presence in popular memory. 

Los isleros, by Lucas Demare, was a hit. With Tita Merello and Arturo García Buhr. Produced by: Estudios San MiguelJohn Alton won the Academy Award for best cinematography for Vincent Minnelli’s An American in Paris.

1952

Luis Mottura directs Mi hermano Esopo, with Mario Fortuna, Gregorio Cicarelli, Pierina Dealessi, and Susana CamposEl baldío de Carlos Rinaldi was released, starring Olga Zubarry, George Rigaud, Eliseo Herrero, Lucía Barause, Gloria Ferrandiz, and Beba Bidart.

Lumiton Studios are intervened by the justice system. Lucas Demare is forced to interrupt the filming of Un guapo del 900 due to the production company’s bankruptcy. Years later, Leopoldo Torres Nilsson and Lautaro Murúa created their own versions of the film.

Hugo del Carril premiered Las aguas bajan turbias. Produced by: DC-B.
Carlos Hugo Christensen premiered two police films: Si muero antes de despertar and No abras nunca esa puerta. Produced by: Emelco and Transamérica Films.

1954

Under the judicial intervention, the following films are released: Crisol de hombres, directed by Arturo Gemmitti, starring Pedro Maratea, Guillermo Pedemonte, Roberto Durán, Eduardo Otero, and Fernando Siro, with a screenplay by Abel Santa Cruz. Río Turbio, directed by Alejandro Wehner, featuring Juan José Míguez, Zoe Ducós, Oscar Freyre, and Elisardo Santalla.

1955

In 1955, Lumiton’s employees established the Cooperativa del Gong as a source of employment. They rent the sets and produce some of their own content. Codicia is released, directed by Catrano Catrani, featuring Jacinto Herrera, Sarita Antúnez, Guillermo Battaglia, and Leandro Salomón Cacavelos.

1958

The beginning of the end for the studios came with the lifting of the judicial intervention and the start of successive bankruptcy requests for the company, which never materialized.

1959

Reportaje en el infierno was released, directed by Román Viñoly Barreto, starring Osvaldo Miranda, Nélida Bilbao, Nathán Pinzón, and Argentinita Vélez.

The company comes under the ownership of the Fundación Nuestra Señora de la Merced.

1960

After the judicial intervention, Lumiton is taken over by a Foundation. The studios are rented and few films are released under the label. Director Vlasta Lah films Las furias, the second-to-last film of the label and the first sound film directed by a woman.

1963

Lindor Covas, el Cimarrón, directed by Carlos Cores and starring Carlos Cores, Mario Lozano, Elizabeth Killian, Joaquín Petrosino, and Enrique Kossi, is released. It is the last film to bear the Gong label.

1968

The legal status is revoked from them, and the decision is made for their final liquidation.