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Los hijos de Fierro 1972
Description: Solanas's movie is structured through a blending of the figure of Martín Fierro and Juan Domingo Perón, in which the verses of the poem, a symbol of gaucho knowledge of the real nature of Argentina, cross with the speeches of Perón. By overlapping Fierro, a wise and sensible man, with Perón, the latter is characterized as a natural political leader, and something of a political father figure for the nation, the only one capable of leading Argentina toward national dignity.
Released: 03 Jan 1980 Director: Fernando E. Solanas Writers: José Hernández, Fernando E. Solanas Actors: Julio Troxler, Antonio Ameijeiras, Juan Carlos Gené, Martiniano Martínez Genres: Drama
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See Fragmento de "Los hijos d on youtube.

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See Los Hijos de Fierro - 12/12 on youtube.

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See Los Hijos de Fierro - 5/12 on youtube.

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See Los Hijos de Fierro - 10/12 on youtube.

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See Alfredo Zitarrosa 1972 - Cando on youtube.

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See Martin Fierro - PELICULA COMPL on youtube.

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See Horacio Guarany Canta Martin F on youtube.

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See LOS HIJOS DE FIERRO - Alfredo on youtube.

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See Martin Fierro (Por Fontanarros on youtube.

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See JORGE CAFRUNE: "AQUI ME on youtube.

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Los hijos de Fierro Reviews:

Fernando Ezequiel Solanas, born in 1936, took the Argentine cinema globe by storm with his his first detail movie La Hora de los Hornos (The Hour of the Furnaces, co-directed in 1968 with Octavio Getino). The movie is a superb documentary on neocolonialism, violence and exploitation in Latin America, in fact a revisionist take on the entire history of the region. Filmed and shown clandestinely during a military dictatorship, the movie grabs your attention to the last minute in spite of its length (260 minutes). I still remember the deep impression left on me after viewing it in Los Angeles in 1969. The movie won few international awards and was screened around the world. Solanas was a founder of the Grupo Cine Liberación. This group proposed a fresh path for Argentine cinema, independent of, or opposite to the studio system (which had a rich history in Argentina, beginning in the silent era) and of the "auteur", heavily intellectual, European inspired movement that took keep in the period 1956-1975. Together with Getino, Solanas wrote the manifesto "Toward a Third Cinema" which inspired movie makers in developing countries in South America and another regions for many years. Solanas went on to movie many another outstanding documentaries (the last in 2011) dealing mostly with newest Latin American history such as the plunder of Argentine resources in the 1990s by local and foreign capital and on its consequence, the implosion of the Argentine economy in 2001 under the weight of an unsustainable foreign debt. His work attained international recognition; he won the Unique Jury Award and the Critics Award at Venice, Greatest Director Palm at Cannes and a unique Golden Bear at Berlin. His uncompromising militancy was not without private consequences; he lived in forced exile from 1976 to 1983 and there were at least two attempts on his life, one before he left Argentina, the another after he returned. He has been heavily involved in Argentine politics, being elected representative of his party, Proyecto Sur, for the town of Buenos Aires in 2009. Solanas had a parallel career as a fiction filmmaker, although "fiction" has a relative meaning here; his films are everytime informed by Argentine political and economic reality in the newest past. His style is poetic, intensely private and at times surrealistic, incorporating musical and dance numbers and mixing freely reality and fantasy, with characters from various eras interacting, both dead and alive. His main works in this zone are Tangos, the Exile of Gardel (1985), The South (1988), The Adventure (1992) and The Cloud (1998). Los Hijos de Fierro (the Sons of Fierro, 1972) is a forerunner of his soon fiction work. The characters are taken from José Hernández's poems El Gaucho Martín Fierro (The Gaucho Martín Fierro, 1872) and La Vuelta de Martín Fierro (The Return of Martin Fierro, 1879), which, over the years have attained the status of Argentina's national epic; references to these works are readily understood by Argentinians of any age or background. Solanas territories these characters in the period between the overthrow and expulsion of president Juan Domingo Perón in 1955 and his return to power in 1973. The film centers on the harsh repression of the labor movement by the military and the police after 1955 and on the resistance (both violent and nonviolent) of the workers and the Peronist left, which gradually created the conditions for Peron's return.Solanas' fiction style is sometimes rambling and unfocused, but this film remains a strong work. It is dated; Peron's return did not produce the expected results. Nice acting by a mostly nonprofessional crew. Perfect voice-over by Aldo Barbero, both prose and verse (the latter in the"gauchesque" style used in Hernandez's poems). Gritty cinematography by Juan Carlos Desanzo matches perfectly the movie's intentions (Desanzo went on to direct some significant films in Argentina).At the moment, none of Solanas' films is readily accessible in DVD Region 1. We hope this will be remedied.



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