{"id":86313,"date":"2024-07-29T00:01:09","date_gmt":"2024-07-29T07:01:09","guid":{"rendered":"https:\/\/cartoonresearch.com\/?p=86313"},"modified":"2024-07-22T22:43:10","modified_gmt":"2024-07-23T05:43:10","slug":"argentine-animation-the-voices-interview-with-pelusa-suero","status":"publish","type":"post","link":"https:\/\/cartoonresearch.com\/index.php\/argentine-animation-the-voices-interview-with-pelusa-suero\/","title":{"rendered":"Argentine Animation: The Voices. Interview with \u201cPelusa\u201d Suero"},"content":{"rendered":"\"\"\n

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Note<\/strong>: This chapter in the series on advertising animation in Argentina could not have been made without the contribution of Jorge Finkielman.<\/p><\/blockquote>\n

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Pelusa Suero<\/p><\/div>\n

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In our previous entries on Argentine animation after the arrival of TV, we touched in passing on a point that was the possible cause that the best exponents of this genre did not follow the fate of experiences like \u201cUpa en Apuros\u201d; that is to say, technically correct curiosities without visible sequels. The problem of creatures populating an abstract \u201ccartoonland\u201d was to be overcome by a factor to which little attention had been paid up to that point: the voices.<\/p>\n

It is remarkable that the author of the first animated feature film, Quirino Cristiani, already understood the importance of the subject. For his short film El Mono Relojero<\/em> (1938) Cristiani summoned one of the most famous comic actors of the time to be in charge of all the voices of the film, an adaptation of the children’s book by the popular Constancio Vigil. Everyone agrees that the result (a first attempt by Cristiani to stick to the usual cel technique) did not work very well. The least enthusiastic of all turned out to be Mr. Vigil, and the failure of the project ended Cristiani’s career in animation, except for a couple of isolated experiments. Examining the film, it can be noted that one of its problems may have been precisely the pervading voice of the star, Pepe Iglesias, nullifying any possibility of a personality that does not refer directly to Mr. Iglesias. In any case, it is clear that his voice was intended as a final addition less than a possible generator of characters or situations. <\/p>\n

\u201cEl mono relojero\u201d (1938) por Quirino Cristiani.<\/strong><\/p>\n