This important Argentine film maker, together with the notable Héctor Oliveira, was among the first to touch on political issues in Latin American film, most of which had a significant impact in their country and beyond.
Los Tallos Amargos makes full use of what we now consider the classic film noir tradition. Nightmarish dream sequences with massive projected shadows & confusing lopsided sets quoted F. W. Murnau, as Ayala exploited the stark areas of dense black, using shadows and sudden light, to add mystery, intrigue and above all, fear.
Carlos Cores and Aida Luz
Alfredo Gaspar (Carlos Cores) is a failing journalist. His dreams of being a successful reporter travelling the world, like a hero, are in tatters as he is hanging onto his job at a modest entity by the skin of his teeth. He has no chances of promotion and feels unable to offer his wife Susana (Julia Sandoval) what he thinks she wants. He decides to team up with an Hungarian immigrant, Liudas (Vassili Lambrinos) to carry out a dodgy fake Journalism correspondence course to make lots of money. Liudas claims he has devised the scheme to be able bring his family over from Hungary, in particular his son Jarvis. With the presence of a good femme fatale, and friends who question him, and seed him with doubts, Alfredo begins to suspect that maybe it is he who is being taken for a ride and that Liudas is lying about his family and son. Alfredo is so tormented he comes up with a dangerous scheme of his own.
Vassili Lambrinos as Liudas
There are references also in the deep levels of confusion and turmoil of Alfredo’s mind that remind us of some of the best noir films that came out of Hollywood, like Double Indemnity (1944). Alfredo harbours a similar sense of betrayal, confusion and turmoil that we saw in Fred MacMurray’s character (the insurance salesman) who is seduced by the temptress housewife Barbara Stanwyck. In Los Tallos Amargos, however, Fernando Ayala surprises with a very effective unexpected twist.
The two leads, Carlos Cores and Vassili Lambrinos are superb in their contrasting personalities and we are swept into their world and as surprised as any, by the turn of events. Aida Luz is excellent as the escort femme fatale who ends up in love with her client, Liudas. When Alfredo overhears fragments of one of their conversation, it leads to devastating events in this story.
Carlos Cores as Alfredo Gaspar
Young composer Astor Piazzola brngs his own particular colour and texture to the film. While some moments have the predictable thriller intros, on the whole, the music speaks of Piazzola’s potential that developed so exceptionally later. Meanwhile, adding to those musical effects, Ayala made full use of the cinematography and lighting (by DOP Ricardo Younis) playing with light and shadows to create the powerful noir atmosphere of intrigue and confusion that laid the grounds for tragedy.
Carlos Cores and Julia Sandoval ( as Susana)
A classic in its time and a classic today, Los Tallos Amargos is worthy of another viewing, standing up well to the test of time.
Los Tallos Amargos (The Bitter Stems) 1956 is on at the Cine Lumière on Friday September 6th 2024. The screening will be followed by a wine reception and a concert by Argentine bandoneon player Guillermo Willis.
Recommended.
Director Fernando Ayala/ Writers Sergio Leonardo and Adolfo Jasca/DOP Ricardo Younis/ Editors Gerardo Rinaldi and Antonio Riploi/ Producer Francisco Tarantini.
Cast: Carlos Cores, Vassili Lambrinos, Julia Sandoval and Aida Luz
