In tango there is nothing to give. Tribute to the "Café de los maestros" (film released in August 2009 in Buenos Aires )
Lidia Ferrari
This popular music called tango reaches the Teatro Colon, the perfect place
of classical music, with the help of a musician who loves music and
not stopped thinking about the differences between classical and popular music. For music,
good can be popular and get to all those who love
complexity and simplicity, in short, the wealth of music, tango, music that "there
how to give ", as one of the protagonists of the film.
"Café de los maestros" is a necessary film. Apologies for appeal to this
commonplace that they hardly say anything. It is necessary for the recognition of the
quality of a musical genre and its makers, necessary for the dissemination of
why is there hidden, buried, opaque to certain glow of the media,
this world we live in the media and puppets made famous
, wasting light on those whose only merit was to
expose his face on camera. Because there are others. Others who have their own brightness.
Those who do not need neon lights to illuminate and enlighten. Those who have
own shine light into the darkness. Radiate light around him. That's what the film achieves
Kohan-Santaolalla. Filming those who by their own light
can spread, across the sea from the famous River Plate, the passion that produces
. These teachers have the eternity of the musical richness and perennial complex
authenticity of what you sing, what
played in the home, patio, in the neighborhood club.
The film was not necessary to produce these talents, not to deploy,
or to provide work for those who are recognized there. It is necessary to make this light
be expanded to other places where one would not. Because to do what
did not matter if they had to pay the collective of the
Boca Center.
is a necessary film to see those teachers who are great because
shed talent, work, music, passion, excitement to the four winds by the intense desire to do
. It's a film needed to show what they are
. No vain selfishness or competition, only generosity. Teachers recognize
not by vanity, but because they love, and about themselves, that they
do the tango, the music that "there is nothing to give." The passion and talent overflowing
nobility. The emotion that makes us hear what they say and do not
priceless. And they know it. Carlos Garcia says in the film: "Who to play a tango
not feel a shudder in the heart that is dedicated to another
thing." What they do is pure emotion. Do not do it for money. That comes later. O
not come. Whatever. Or not, but it does not matter.
For those who know these teachers and we know its path, and
love and enjoy everything we can, Santaolalla
now need to share the excitement of another small work of art: the movie. The film
only shows something that is there. Simply. Must see, must know
view. There is fading of the direction of the film.
is recognition that the ultimate value of the film is to narrate what they already know the story is told.
What is already there, just waiting for someone to see and capture for
us.
Modesty and generosity of the teachers who were gathered there
doubles on modesty and generosity of the film. No vanity, no
exaltation, no idolatry. Only show the emotion, the passion of the musician, the singer whose life
that. Someone says: "I married the orchestra."
only talk about it. That overwhelming passion for tango. That is not transmissible but
by the substantial osmosis those who live in the Rio de la Plata. Outsiders are
stick. Ie is a real movie.
made by those who know what it is the tango. Whether it tango or not. Are
River Plate. And that's enough. Outsiders can see. Those inside the
feel. Buenos Aires is portrayed from those who live and love, and not from those who view
outside. It is a true Buenos Aires. Beautiful, fast, intense, emotional
. Santaolalla
came to collect what was always met. Meeting in the
feeling. In joy and pleasure they have lavished
these musicians and singers. Few know who he is Chula Clausi. Or perhaps unaware that Horacio
Salgán released his own book. Only here, a great music, an admired
by Arthur Rubinstein and also great musicians of religion, must
edited his own pocket book. There was no university or any editorial
it would seek to ask him to write before I did alone and
of motus own. No publisher or distributor who approached him. And much less Salgán
approached them. It does not need. Or perhaps it would require the
. Maybe if I go outside Europe or U.S. would be a recognized genius,
sponsored, financed, promoted. It's true. But beyond Salgán not have to.
It's here. And Salgán is ours, with all the difficulties of these musicians who never thought
end up playing in Columbus, but no
did not do wonders for your art. As said Macedonio Fernández, quoted in the film,
"the tango is all that we ask permission to Europe." Then came
Santaolalla. So why did not need to produce art, emotion and talent
in this very complex and rich music that is the tango, he was not required nor Salgán
or for Mores, or to Clausi, or to Baffa, Lagrima Rios nor
or Virginia Luque, nor Podesta or Stampone, or those who are
there or for missing ... that was not essential for life
any of them, arrived. And yes. After I left the cinema I thought.
Santaolalla is indispensable for this emotion, excitement, great emotion that makes us watch this movie
generous, modest, teacher appreciation. So
the film is not only necessary but essential. Thanks Santaolalla. Lidia Ferrari
Buenos Aires, August 2009
"Café de los Maestros", de Miguel Kohan is a documentary about the great figures of tango.
The film brings together 21 of the most important musicians and singers of tango, men and women aged between 75 and 93. Virginia Luque, Mariano Mores, Leopoldo Federico, Horacio Salgán Lagrima Rios and some of those who are the protagonists.
Gustavo Santaolalla is one of the producers of the film along with a Brazilian filmmaker Walter Salles and producer Lita Stantic Argentina.
Maestro Carlos Garcia: http://www.youtube.com/watch?v=Q3Dh16tRnU8
