Director of Argentine cinema, born in 1932 in Tucumán.
Although much of the career of Julio Saraceni was developed during one of the Golden periods of Argentine cinema, his figure has been always overshadowed because of numerous factors. The main reasons for that fact can be found in proven versatility that allowed him to jump from genre in each film without being enclosed, unambiguous membership in the commercial area of the film industry, and the air of change that began whipping across the American continent. In full expansionistic phase of audiovisual movements close to the revolutionary, as the Cinema novo Brazilian, the last exponents of the consumer film suffered rejection of intellectuals and criticism. His feature films would still be an overwhelming success and narrative efficiency worthy of consideration, but the journals or books of film analysis gave them aside, at the time that lifted up the new trends that also in festivals around the world. Fierce competition from television would finally lead to its slow decline professional and its abandonment of the medium of film.
After a long meritoriaje as Assistant Director Julio Saraceni would achieve promotion to Director in 1962 when the Sun, a family drama of optimistic finish that produced the powerful production company Argentina Sono Film heat. With Alias bangs, shot the following year for the same company, he/she offered one of those spectacular twists that would be so prevalent throughout his career, showing an extraordinary capacity to adapt to any genre that put him ahead. This film, a thriller in any rule, reflected the anguish suffered by an individual without identity documents to which pursues the police as an alleged criminal's high-flying.
I come back to live... come back to sing would be one of his most popular forays into musical comedy, land where always handled with ease. Putting the classical narrative at the service of modern times this film was the optimal vehicle for the brilliance of a known child singer, Sabu, in full transition to maturity. While I need you so much, love, it was a musical moralist on a worker's beautiful voice that a girl lover makes and launches a reputation that he/she will end up refusing to return to the village with his mother and his former girlfriend.
Within that line profundizaría, despite the notorious decline suffered by gender, Alejandra mon amour, shot in Spain with which Manolo Escobar in front of the cast. Both would agree also in contact in Argentina, although the success of these two titles was not as overwhelming as in past eras and that forced a long period of silence in only Saraceni exceptionally broken with the routine series B the Superagents against ghosts.
1938: Nights of carnaval.1939: the intrusa.1944: Nuestra Natacha; The importance of being ladron.1945: the three Musketeers. 1946: The mystery of the yellow room. 1947: La caraba; Summits of nobility. 1948: Born free. 1949: Bohemian soul. 1950: Buenos Aires, my beloved land; The corner bar. 1951: The last Squadron; The beautiful Brummel.1952: Atomic Barbara. 1953: By four crazy days; The age of love; The best school.Holidays in Mar del Plata; A boyfriend for Laura; Poorer than a laucha. 1956: Catita is a lady; Marta Ferrari; The nutty satellite. 1957: The beautiful lie. 1959: of the couplet to the tango. 1960: Love teacher. 1961: Cristóbal Colón at the Faculty of Medicina.1962: the wizard of finance; When heated the sol.1963: Alias bangs; Canuto Cañete, concripto of the 7.1964: El gordo Villanueva; Cleopatra was Candida; Tonight best not!; Beware the colas.1965: eager boys; Dislocate at the presidio. 1966: The gloton.1967: Patapufete; Villa Cariño, forest alojamiento.1968: the novice rebelde.1970: again I live..., I return to cantar.1972: young, widow and rancher; There, in the Norte.1974: Rolando Rivas, taxista; Carmina.1975: I need you so much, amor.1976: the obertura.1978: Duckburg nuclear.1979: Alejandra mon amour; Argentina.1985 contact: Buenos Aires tango.1986: Los Superagents against ghosts.