Waiting for the Hearse
| Waiting for the Hearse | |
|---|---|
|
Spanish language theatrical release poster | |
| Directed by | Alejandro Doria |
| Produced by |
Diana Frey Alejandro Doria |
| Screenplay by |
Alejandro Doria Jacobo Langsner |
| Based on |
Esperando la carroza by Jacobo Langsner |
| Starring |
Luis Brandoni China Zorrilla Antonio Gasalla Mónica Villa Betiana Blum Juan Manuel Tenuta |
| Music by | Feliciano Brunelli |
| Cinematography | Juan Carlos Lenardi |
| Edited by | Silvia Ripoll |
Production company |
Rosafrey Susy Suranyi y Asociados |
| Distributed by | Primer Plano Film Group (2012, Argentina - digitally restored version) |
Release dates |
|
Running time | 85 minutes |
| Country | Argentina |
| Language | Spanish |
Waiting for the Hearse (Esperando la carroza in Spanish) is a 1985 Argentine comedy film directed by Alejandro Doria. It is considered a cult film. It opened on 6 May 1985.
The story belongs to the criollo grotesque (costumbrismo) genre or black comedy. It's inspired on the play of the same name by Jacobo Langsner premiered by the Comedia Nacional company on 1962 and directed by Sergio Otermin. The film adaptation counted with great actors of the rioplatense theater like Antonio Gasalla, China Zorrilla, Luis Brandoni and Betiana Blum; in Argentina it's a classic and its reruns on TV still draw large audiences. On April 2, 2009, 23 years after the original film's release, a sequel, Waiting for the Hearse 2, was released.
Background
The film was originated by the theatrical piece Esperando la carroza from Romanian-Uruguayan Jacobo Langsner, author from the criollo grotesque genre and its TV adaptation that was broadcast in the prestigious show Alta Comedia from Channel 9 in the 1970s, starring China Zorrilla, Pepe Soriano, Raúl Rossi, Dora Baret, Alberto Argibay, Lita Soriano, Alicia Berdaxagar, Marta Gam and the special appearance of the Austrian actress and acting teacher Hedy Crilla (1898–1984) as Mamá Cora.
The movie was adapted and retooled by author and director Alejandro Doria to include an ensemble of big names and give more lines to Mamá Cora's character, who had much less in the original (who was originally designed to be played by the actress Niní Marshall).
Plot
Musicardi's octogenarian widow, Ana María de los Dolores Buscaroli, called Mamá Cora by everybody (Antonio Gasalla), has four children: Antonio (Luis Brandoni), Sergio (Juan Manuel Tenuta), Emilia (Lidia Catalano) and Jorge Musicardi (Julio De Grazia) with whom she lives and goes through financial troubles. This situation, plus lack of space and constant generational conflicts, makes Susana (Jorge's wife) ask desperately for the siblings-in-law to take their mother with any of them for a while.
Susana had a domestic problem with Mamá Cora. The first was preparing some mayo and she went to nurse her daughter leaving the ingredients alone. Mamá Cora remembered an earlier conversation about caramel custard and she thought that this concoction was to make some, innocently adding sugar, milk and eggs, causing Susana's rage. She storms into Sergio's house who's getting ready with his perfidous wife Elvira (China Zorrilla) and their daughter Matilde (Andrea Tenuta) to welcome, with the classic Sunday meal, newly rich Antonio (Luis Brandoni) and Nora, his wife (Betiana Blum), who ascended socially and economically in unclear circumstances during Argentina's last dictatorship. Mamá Cora's destiny is debated while lunch is burnt: Sunday raviolis and the tomato sauce made by Elvira. No one wants to take responsibility for the old lady with the women speaking out their opinions and the men trying to maintain respect for the name of their mother.
On her own, Mamá Cora, due to what happened with Susana, decides to go out and stop bothering everyone for some hours. She ends up in the house across Sergio's taking care, as a favor, of Dominga's son (the neighbor). Nobody finds her and, considering the "disappearance" after the fight with the daughter-in-law, plus the news about a disfigured body of an old lady who committed suicide throwing herself under a train, the remorseful clan comes to the hastened conclusion that Mamá Cora has killed herself so she could stop causing trouble. After double-checking with the police thanks to Antonio's "contacts", the tragedy is informed to the distant relatives and the humble working class familiar Emilia (Lidia Catalano), who arrives with despair over the terrible news.
In the meantime, from Dominga's terrace, Mamá Cora watches people coming and going in and out from Sergio and Elvira's house. Years of troubles, resentment and intrigues come up between all of them while they prepare the service for Mamá Cora. Misunderstandings follow and family's awful truths surface. In the middle of her own vigil, Mamá Cora reappears leaving everybody astonished. The family reconsiders and values the presence of its elder member while she and her friends go to the other woman's service, a Hungarian woman whose body was sent to the Musicardi family by mistake. Susana laughs out loud in front of her disconcerted relatives; she mocks them and herself, because from now on nothing will be the same again.
Cast
| Actor | Character |
|---|---|
| Luis Brandoni | Antonio Musicardi |
| China Zorrilla | Elvira Romero-Musicardi (Sergio's wife) |
| Antonio Gasalla | Ana María de los Dolores Buscarolli-Musicardi (Mamá Cora) |
| Betiana Blum | Nora (Antonio's wife) |
| Julio de Grazia | Jorge Musicardi |
| Mónica Villa | Susana (Jorge's wife) |
| Juan Manuel Tenuta | Sergio Musicardi |
| Andrea Tenuta | Matilde Musicardi (Sergio and Elvira's daughter) |
| Darío Grandinetti | Cacho (Emilia's son) |
| Cecilia Rossetto | Dominga |
| Enrique Pinti | Felipe |
| Lidia Catalano | Emilia Musicardi |
| Clotilde Borella | Doña Elisa |
| Juan Acosta | Peralta |
Production
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The house where the action takes place it's in the neighborhood Versalles in Buenos Aires, on Echenagucía St. It was restored and declared Cultural Heritage of the city of Buenos Aires.
Reception
Waiting for the Hearse was initially not well received by critics upon its release, and it was a moderate success at the box office. It later became a cult classic in Argentine cinema, and - since the first decades after its release - it has been considered as a story that reflects a bitter satire of the Argentine idiosyncrasy, the reality in the late '70s and early 80's and the disregard for senior people, as well as the state of the post-dictatorship society.
The script won the Argentores Award (the award of the Argentine Authors' Union) and the Argentine Film Critics Association award for Best Adapted Screenplay.[1]
Legacy
As a cult classic, every year the film draws surprising levels of audiences when it is broadcast on TV, generally on Sundays (the story in the film occurs to a troubled family on a Sunday) and the dialogues have set catchphrases and expressions that have been incorporated to everyday Argentine life.
Celebrating two decades from its opening, in 2005 the film's DVD was launched with backstage and deleted scenes, plus an interview with Doria.
The character of "Mamá Cora" was later played by Antonio Gasalla in many other TV shows, including his own.
Sequel
The sequel, Waiting for the Hearse 2, was filmed in 2008 with a script that was written by Jacobo Langsner in 1986. The film was later released in 2009. It received very negative reviews and did poorly at the box office. The role of Jorge was taken by Roberto Carnaghi, due to Julio de Grazia's death on 1989.
Remakes and adaptations
Among the different international adaptations, there is a Portuguese TV movie titled Querida mãe ("Beloved mom"), based on the movie.
An homonymous play was premiered in Madrid, with Spanish actors speaking with a rioplatense accent.
A Brazilian remake by Fox Filmes do Brasil and Globo Filmes was released in 2008, starring Ary Fontoura and titled A guerra dos Rocha (The war of the Rochas).
References
- ↑ Esperando la carroza - The best movies in our country Livra.ar (Spanish)
External links
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Wikimedia Commons has media related to Esperando la carroza. |