Biography of Héctor Alterio (1929-VVVV)

Argentine actor, whose full name is Héctor Benjamín Alterio Onorato, born September 21, 1929 in Buenos Aires. It is partner of generation of other great Argentine actors (Lautaro Murúa, Walter Vidarte, Norman Briski, or Luis Politi) and had to leave, as they did, their homeland at the end of the 1970s, fleeing the dictatorship of Videla in search of professional arrangement, which found (such as the aforementioned performers) in Spain.

He studied dramatic art in Buenos Aires and was formed in the grand tradition of actors in that country, in the conservation and maintenance of the most advanced techniques of the trade. It propelled new theatre training from 1950, group activity that remained until 1968 and which unveiled the work of both avant-garde authors as classics of the international repertoire. So constant and extensive career gave him an enormous prestige and made him one of the actors and most respected theatrical animators of his country, at the same time that he/she began to attract the attention of various international professional organizations. So much so that he/she received an invitation from the US Department of State to intervene in a series of lectures and theatrical courses in United States. It is noteworthy, in this period, their participation in the legendary and prestigious Actor's Studio New York's Lee Strasberg.

Since the beginning of the sixties he/she worked tirelessly in his country in film, theatre and television. His first film appearance dates back to 1962; It is a short film directed by Jorge Macario: the man who saw the Messiah. From then on, his contribution was decisive in certain Argentine films of artistic endeavour and progressive spirit: worked under the command of veteran filmmakers, like Alfredo Mathé (every Sun is bitter, 1965), Manuel Antín (Don Segundo Sombra, 1969), Leopoldo Torre Nilsson (the Saint of the sword, 1969) or Fernando Ayala (Argentine until death, 1970); but also agreed to engage in the attempts of the young filmmakers who were giving innovative impetus to Argentine Cinematography: Juan José Jusid (fidelity, 1970), Ricardo Wulicher (Quebracho, 1972) or Sergio Renán (the truce, 1974).

In these years before the appearance of the military dictatorship took part in three films that caused him through enmity of the Warriors of society welfare of his country and most reactionary elements: two of the most prestigious Argentine director of the time, Leopoldo Torre Nilsson (mafia, 1971; The seven madmen, 1972) and, above all, the work of Héctor Olivera rebel patagonia (1973), who would become a true emblem of the progressive movements in the country and, consequently, in aim of persecution, authentic 'black beast', for those reactionary elements.

Héctor Alterio became known to the Spanish public for his moving portrayal of the Truce (1974), Sergio Renán, that was presented at the San Sebastián Festival of that year: the actor was part of the official delegation and, coinciding with that presentation in competition, is issued a statement from Argentina in which the sinister Triple A right-wing organization formally threatened death to a series of Argentine intellectuals and artists. Alterio (whose name was on the list) decided then, wisely, not to return to their country, and settling in Spain. The beginning in what would be his country of adoption, because despite its undoubted prestige and quality were not easy, his name had not gone beyond Argentine borders. He/She intervened, initially in theatre, forming part of the representation of divine words, Valle Inclán.

With breeding crows, Carlos Saura, and Pascual Duarte by Ricardo Franco, both of 1975, made its presentation in Spanish cinema and said an interpretive personality of unquestionable rigour, a dramatic poise of unique character. Since then he/she developed an intense activity in national cinema, which can average about five films per year, which contributed to that did not have much ability to choice and that it would be obliged to accept characters in titles that were well below its artistic category; However, this prodigality did not affect never as a comedian. Films such as mud (1976), secret (1976) or El Mirón (1976) had discouraged the career prospects of any other actor who did not have his safety (but also its need to find a job continuity).

Anyway, he/she was always willing to take advantage of the best performing opportunities, and that availability would allow him to participate in more ambitious work, that could deploy as an actor, as is the case with several significant late 1970s films: unfinished (1976), the words of Max (1976), the Pope (977), up feat (1977)in which he/she kept a stimulating interpretive duel with Fernando Fernán Gómez and José Sacristán; The trout (1977) or the national shotgun (1977).

And, again, the San Sebastián Festival returned to be decisive in the consolidation of his career in Spain. If the truce had been his official presentation in Spain two years earlier, to an unknown God (1977), by Jaime Chávarri, meant his consecration, since he/she won the prize for best actor at this year's Edition. It is thus honoured the professional competence, but also the dedication of an interpreter who considered himself already assimilated, perfectly integrated in the Spanish film industry.

He continued alternating films of quality or artistic ambition - what does a girl like you in a place like this? (1978), memorias de Leticia Valle (1979), the crime of Cuenca (1979) or F.E.N. (1979) - with other low flying or brash consumption, until he/she could return to his homeland in 1980.

Friday of eternity, by Héctor Olivera, its director in La Patagonia rebelde, meant the end of exile, six years after have been obliged to do so. Since then, fortunately for the two cinemas, has been able to pursue acting, indistintantamente, both in Spain and Argentina. And so they have been able to happen in the Decade of the eighties and nineties significant titles on both sides of the Atlantic as shooting outdoor (1981), Mario Sábato; Antoinette (1982), by Carlos Saura; Mr Galíndez (1983), de Rodolfo Khun; and my general (1986), by Jaime de Armiñán , (where it was part of an ensemble cast of exceptional quality), among others.

Of its very extensive work, could perhaps highlight two works that synthesize the amplitude, containment and dramatic severity of your record of comedian: the nest (1980), Jaime Armiñán, and the official history (1984), Luis Puenzo.

In 2001 he/she released the son of the bride, comedy-drama of Juan José Campanella who reaped an undoubted success at the box office and, in 2002, shared center stage with countrymen Federico Luppi and José Soriano on the last train, the Uruguayan director Diego Arsuaga. The work of the Director and the acting trio was recognized with two awards at the Valladolid International Film Festival.

The Spanish Film Academy awarded in 2003 the Goya of Honor.

In June 2004 he/she returned to the tables, after ten years without doing so, for scene I Claudio, a theatrical version of the famous work of Robert Graves, in the 50th Edition of the Merida Festival, and from there to a tour of Spain.

Filmography.

Short films

1962: The man who saw to the mesias.1967: the contemplative life (medium); The other oficio.1976: Off.1977: the espera.1987: the arena.1992 history: final hour.

Feature films

1965: All Sun is amargo.1966: seducing a mujer.1969: Don Segundo Sombra; The Saint of the sword; The habilitado.1970: lineage of race; Argentine until death; Fidelity; Patatin and patatan.1971: the mafia; On the trails of the libertador.1972: green cloth; The low blows; Beto sanchez.1973's revenge: Quebracho; The seven madmen; The skin of love; The rebel Patagonia; Love infiel.1974: the tregua.1975: Cría cuervos; Pascual Duarte.1976: A minor; Mud; Bedroom secrets; Unfinished; Voyeur; The words of Max.1977: the war of Pope; To an unknown God; Storm; Marian; Top feat; The trout; Nacional.1978 shotgun it: what does a girl like you in a place like this?; The Moonlight Serenade; Times of Constitution; Three in raya.1979: memories of Leticia Valle; The crime of Cuenca; F.E.N.1980: Goodbye again; Into a thousand pieces; The nest; Shot in the air; Kargus; You break the rating.1981: life, love and death; TAC Tac; The eternidad.1982 Friday: return; Assassin beetles; Corazón de papel; Murder at the Central Committee; Antonieta.1983: Mr Galíndez; The wife of the judge; Thank you for the fuego.1984: De Grens; Camila; Adiós, Roberto; The Rosales; The guys from the guerra.1985: Manuel and Clemente; The official story; In the pale light of the Moon; Flesh & Blood; Count up to diez.1986: Sofia; Puzzle; Debt externa.1987 man: the truth hides; My general; Barbablù, Barbablu.1989: The summer of the Colt; Summer of the colt; Continental.1990: I, the worst of todas.1991: Don Juan in the infiernos.1993: Tango feroz: the legend of Tanguito; The boludas.1994: the detective and death; The King of the rio.1995: Tatiana, Russian doll; HP salvajes.1997: memories of the fallen angel; Ashes of paradise; Small milagros.1998: Sidoglio Smithee; A sweet smell of death; Journal for a cuento.2001: the son of the novia.2002: the last train.

Works for television

1982: Il quartetto Basileus.1986: Blancaflor, the daughter of the devil.

JGD