Añade un argumento en tu idiomaA washed up reporter teams up with an immigrant from Hungary to start a fake journalism by correspondence school.A washed up reporter teams up with an immigrant from Hungary to start a fake journalism by correspondence school.A washed up reporter teams up with an immigrant from Hungary to start a fake journalism by correspondence school.
- Dirección
- Guión
- Reparto principal
- Premios
- 2 premios en total
Otto Webber
- Noriega
- (as Otto Weber)
George Hilton
- Hombre en redacción
- (as Jorge Hilton)
Reseñas destacadas
An Argentinian film noir from 1956. Presented a couple of weeks ago as part of TCM's Noir Alley (& whose host Eddie Muller was one of the champions in saving the lost classic) which details a man's greed overwhelming his soul. Down Argentine way, a reporter, played by Carlos Cores, who's barely making ends meet runs into an opportunistic foreigner who works at a bar who sells him on a scheme to fleece readers of their money for a correspondence school scam but after a while the idea of having to separate the wad begins to weigh on Cores so one night he takes a hammer to his partner's head, burying him in his home's garden. As time passes & his partner's son shows up out of the blue (who also begins a romance w/his daughter), the tale takes a turn for the Hitchcockian (& even shades of Edgar Allan Poe as every time Cores looks out his window to his garden, there the dead body lies) w/great camera set-ups & cinematography (according to the notes I've read on the movie, this film's DP taught the peerless Gregg Toland back in the day) & an ending which would shame purported American noirs of the period (the Hays code demanded the bad guy get his). The title's translation is "The Bitter Stems" by the by.
There are several twists and turns in this film, so you'll definitely cheat yourself if you read any reviews warning of spoilers.
Thanks to the Film Noir Foundation and UCLA, the restored version aired on TCM's Noir Alley hosted by Eddie Mueller. If you can catch his intro and outro, you'll learn some interesting things, such as the original novel was awarded a very prestigious Argentinian award as was the film itself, the score is by one of Argentina's most celebrated composers, and one of South America's most popular, if not most popular, female actors of the time has a small but important role.
There's all kinds of noir style going on, but there's also echoes of Edgar Allan Poe's use of concise storytelling, paranoia, and the concept of justice as an archetype. The acting is wonderful, and the cinematography is stunning. The musical score is all over the place, but it honestly works.
A must for noir junkies.
Thanks to the Film Noir Foundation and UCLA, the restored version aired on TCM's Noir Alley hosted by Eddie Mueller. If you can catch his intro and outro, you'll learn some interesting things, such as the original novel was awarded a very prestigious Argentinian award as was the film itself, the score is by one of Argentina's most celebrated composers, and one of South America's most popular, if not most popular, female actors of the time has a small but important role.
There's all kinds of noir style going on, but there's also echoes of Edgar Allan Poe's use of concise storytelling, paranoia, and the concept of justice as an archetype. The acting is wonderful, and the cinematography is stunning. The musical score is all over the place, but it honestly works.
A must for noir junkies.
The Argentinian movie Los tallos amargos (1956) was directed by Fernando Ayala.
Carlos Cores portrays a journalist who forms an unlikely alliance with a Hungarian immigrant, played by Vassili Lambrinos. They open a fraudulent journalism correspondence school. All goes well until mistrust and jealousy intrude.
The acting in the movie is outstanding, and we are treated to a film score by the great Argentinian composer Astor Piazzolla.
We saw this movie at the wonderful Dryden Theatre at the George Eastman Museum in Rochester. Congratulations to the Dryden for screening this film in its original 35mm format. Los tallos amargos was considered lost until a 35mm negative was found and restored by the UCLA Film & Television Archive.
This movie might not be for everyone, but if you love film noir, this is the movie for you.
The acting in the movie is outstanding, and we are treated to a film score by the great Argentinian composer Astor Piazzolla.
We saw this movie at the wonderful Dryden Theatre at the George Eastman Museum in Rochester. Congratulations to the Dryden for screening this film in its original 35mm format. Los tallos amargos was considered lost until a 35mm negative was found and restored by the UCLA Film & Television Archive.
This movie might not be for everyone, but if you love film noir, this is the movie for you.
"And we decided to celebrate our end like the doomed in the movies do."
I loved the look and feel of this Argentinian noir, with its flashbacks, surreal dream sequences, and segues into the inner thoughts of its main character. Instead of a femme fatale we get a tragic figure (Aída Luz), and instead of everything coming apart because of a con game, we get drama out of misunderstanding and paranoia. These are basically good people, driven to dark places by economic desperation, with the post-war conditions in Europe looming as a distant backdrop. I wasn't completely sure about the ending, as the digging wouldn't have to be too deep and the guy should have known it (being vague here on purpose), but I loved how brutally grim it was. Overall, a very satisfying film.
I loved the look and feel of this Argentinian noir, with its flashbacks, surreal dream sequences, and segues into the inner thoughts of its main character. Instead of a femme fatale we get a tragic figure (Aída Luz), and instead of everything coming apart because of a con game, we get drama out of misunderstanding and paranoia. These are basically good people, driven to dark places by economic desperation, with the post-war conditions in Europe looming as a distant backdrop. I wasn't completely sure about the ending, as the digging wouldn't have to be too deep and the guy should have known it (being vague here on purpose), but I loved how brutally grim it was. Overall, a very satisfying film.
I've always searched great but unknown films noirs from outside USA, in England of course, but also France, Italy, Scandinavia, Egypt, South America and especially Argentina.
I just discovered this Argentinian noir movie, and it's a must. A real tough brainstorming in music, cinematography, script, acting. A constant crescendo creepy atmosphere about a man possessed by nasty war II nightmares. Very intelligent use of music by Astor Piazolla , wonderful cinematography by Ricardo Younis (Gregg Tolland's student). And what an ending, never seen such a cynical one. Bravo.
I just discovered this Argentinian noir movie, and it's a must. A real tough brainstorming in music, cinematography, script, acting. A constant crescendo creepy atmosphere about a man possessed by nasty war II nightmares. Very intelligent use of music by Astor Piazolla , wonderful cinematography by Ricardo Younis (Gregg Tolland's student). And what an ending, never seen such a cynical one. Bravo.
¿Sabías que...?
- CuriosidadesAs discussed on TCM's Noir Alley by host Eddie Muller in July 2021, a screening of the restored 35mm print of this film was held on behalf of the Film Noir Foundation at the Museum of Modern Art (MoMA) in New York City in February 2016, and shockingly in attendance was 90 year-old Vassili Lambrinos, who, after years of living in various parts of the globe, was living just a few blocks from MoMA. Lambrinos had never seen the film on the big screen nor with an audience before that screening, having seen the film only in an editing room before then.
- Citas
Andreani: You make him infallible. You have an old passion; the need to obey.
Alfredo Gaspar: Passion to obey?
Andreani: To be a subordinate.
- ConexionesReferenced in Preserving Memory: Fernando Martín Peña on Argentine Cinema (2024)
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Detalles
- Fecha de lanzamiento
- País de origen
- Idioma
- Títulos en diferentes países
- The Bitter Stems
- Localizaciones del rodaje
- Plaza de Mayo, Buenos Aires, Argentina(Gasper and Jarvis walk in the Plaza de Mayo and look at the Cabildo.)
- Empresa productora
- Ver más compañías en los créditos en IMDbPro
- Duración1 hora 30 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 1.37 : 1
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What is the Spanish language plot outline for Los tallos amargos (1956)?
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