Director of Argentine cinema, born in Gualeguay (Argentina) on July 2, 1920 and died in Buenos Aires (Argentina) in September 1997.
Always halfway between the direction and film production, the figure of Fernando Ayala is fundamental to understanding the evolutionary process suffered by the Argentine audiovisual industry in the decades of the seventies and eighties. In his role as Director, is the signatory both movie business without any desire for transcendence and uncomfortable films of political denunciation. As a producer, financed from mythical titles of Argentine filmmakers such as Adolfo Aristarain (last days of the victim, time of revenge) to comedies erotic successful directors like Gerardo Sofovich (the Knights of the round bed, doctors prefer them naked). This ability to jump without transition from the film badly considered products internationally, but the taste of the audience, baffled many and caused the logical controversy over his creative worth.
Son of Basque father, his childhood was a continuous pilgrimage between Argentina and Spain. Just twenty years was introduced in the film world and started working as an apprentice for Luis César Amadori, which Ascend up to the grade of Assistant Director. Shot two short films before leaving, in 1954, to Cuba, where he/she worked for a time as Assistant Tulio Demicheli. On his return to the Argentina, he/she directed his first feature film, yesterday was spring, a sentimental comedy that is brimming with sympathy and romanticism. This type of movie consumption will be the bulk of his filmography, and, at the beginning of his career, enabled him to gain a foothold in the industry and mature in the office of the Director. However, this initial period also appear in titles as a difficult widow who anticipate further traits of his cinema, as an excellent overview of manners or a great refinement in the narrative language.
The boss opens the doors of foreign markets and reveals an artist's high-flying. This denunciation of peronism through symbolic characters was also the debut as producer of Ayala, who had just found an entity, Aries Cinematográfica Argentina, which will become key to the Argentine cinema with his friend Héctor Olivera . In the same vein of political criticism stand out candidate, captive Paula or physicians, that gets awards at major festivals and are encouraged to expand its focus of attention to issues such as alcoholism (since the cliff). This attitude takes you to have problems with the military junta coming to power in 1976, both by ignoring the prohibitions (edge tells his story, which included the banned singer Mercedes Sosa ) as by their continuous complaints against institutional corruption (the arrangement).
However, Ayala is, at the same time, the filmmaker's greatest success in their country thanks to movies like Hotel accommodations, decent entertainment that opens the door to a series of populist movies that the military dictatorship had nothing to oppose. In the last years of his life, already established democracy, he/she went to preside the Argentina Association of film directors.
1948: the trans-Andean. 1950: Flight 300.
1954: Yesterday was spring. 1955: The sour stalks. 1956: A difficult widow. 1958: The head. 1959: The candidate. 1960: Saturday night, cinema. 1963: Paula captivates; First I. 1964: Happy to rage; Journey of a summer night. 1965: The marriage industry; The mad of the tenement; María and the other; Hotel accommodation. 1967: When men talk about women; In my house command I. 1968: The FIAC. 1969: The hippie teacher; Twine. 1970: Professor patagónico. 1971: Argentine until death; The road; Argentinisima [code].1972: Professor Tirabombas; Argentinisima II [code].1974: Triangle of four. 1976: The song tells her story [code].1978: Doctors. 1980: From the abyss; Days of illusion. 1981: Open day and night. 1982: Sweet silver. 1983: The arrangement. 1984: Passengers of a nightmare. 1986: Sobredosis.1987: the year of the rabbit. 1990: God raised them. 1991: The Gospel according to san Marcos.
RAPALLO, Armando. Fernando Ayala. Centro Editor de America Latina / National Institute of cinematography. Buenos Aires, 1993.