En el 2004 escribimos, junto a Patricio Vega, el guión de Música en espera. El día 11 de enero de 2008 nos compraron la opción del guión y, si los astros se alinean, podría filmarse este mismo año...
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4 comentarios:
¡Felicitaciones! Y pensar que leí una versión del guión hace cuatro años, cuando todavía estaba siendo corregida...
Ah, y buenísimo el jabonmotion!
Querida Juliette!
Você se lembra do nosso papo a meses atrás no msn? Que pena que não gravei... Iupiii, nossos sonhos se realizaram!Você merece toda alegria do mundo!
Mazal Tov
Débie
The marriage of Bach and Palito Ortega
Música en espera: an “aggiornated” Doris Day-Rock Hudson comedy
By Julio Nakamurakare
Herald staff *
As known to old timers and youths who care to scrape beneath the gloss of things “new,” the mid-1950s-early-1960’s comedies starring Doris Day and Rock Hudson were the embodiment of romantic ideals and innocence to the point of naivety. It was a genre that bloomed and had its “Day”, but when the swinging 60s, along with the sexual revolution, erupted, American studios, mostly headed by gray-hair bosses (not that there’s anything wrong with this, on the contrary) were blind and unable to catch up with the breakneck speed changes in all facets of humankind.
Down with the “System”. The ensuing story is well known: the Studio System was going to pieces, for younger audiences expected realistic movies but were, instead, spoon fed Doris Day. It took the so-called “Raging Bulls” generation to salvage Hollywood, the flagship being Dennis Hopper’s 1969 Easy Rider, which broke into the scene with a group of counter-revolutionaries (Peter Fonda, Jack Nicholson, Hopper himself) to shake up Studio bosses to the changing reality.
The opposite is the truth now: in times of socio-economic crisis (and the current one is said to be worse than the 1930s Big Depression), audiences turn to the big screen for some measure of relief.
The new Argentine movie Música en espera (Call Waiting Music) fits into the Doris Day-Rock Hudson mould, wisely updated to fill in your ears (and your eyes) as you wait for a non-robotic voice to answer your call.
You keep me hangin’ on. Diego Peretti, whom we have seen play a multiplicity of roles, all with equal prowess, appears as Ezequiel, a movie score composer suffering from “musicians’ block.” That is, the deadline for submission is edging closer, and Ezequiel must fake before a movie producer (performed with unassuming panache by playwright-actor Rafael Spregelburd) that the score will soon be ready. The most problematic scene Ezequiel must score looks like a b&W chiaroscuro version of Edward Hopper’s Morning Sun – a solitary woman sitting in bed, looking out a window to a point called infinity.
It’s the dramatic finale. Ezequiel has come up with numerous efforts, but they all fail to pass muster with the producer. All Ezequiel can come up with, as he fingers the piano keyboard, is the insistent tune of Palito Ortega’s Yo tengo fe.
Faith he does have, but as is almost always the case in Argentina, nothing ever runs on schedule, and Ezequiel is desperate to find the dramatically haunting music needed for the movie’s grand finale. Inspiration won’t come. On top of it all, no music means no money, and no money means he gets to lose his mortgaged house to the hands of a greedy bank.
Lover Come Back To Me. As fate has it for the action to keep rolling on, a character appears that may help Ezequiel out: Paula, a pretty bank manager’s secretary, so prim in her power suit and reading glasses as to look unapproachable. Played by Natalia Oreiro with ease and confidence, Paula is pregnant – very much so – and has been dumped by her boyfriend. She has decided to become a single mom, and has kept her folks, exiled in Spain, in the dark.
When mom suddenly returns from Madrid, Paula finds herself in desperate need of a mise en scene. Mom, bothersome, nosy but eventually endearingly overprotective, is performed with unsurprising skill by the seasoned stage-screen veteran Norma Aleandro, who transforms this otherwise irredeemably tedious stock character into a performance to watch.
Le téléphone pleure. Everything starts to fall into place – or apart, if the mission is not accomplished – when Ezequiel, phoning his bank to beg to refinance his mortgage, is left interminably on hold. The call waiting music he hears is the inspiration he desperately needs to score the grand finale of his film. Paula, at the other end of the line, has put him literally on hold, and Ezequiel is left impatiently waiting for the phone music to play back again. He needs Paula’s help. So does Paula, who, when they meet, finds Ezequiel the man for the job: impersonating Santiago, the man who has dumped her, so that mom will believe everything is normal, as it should be.
Miss Otis Regrets. The scene and the characters’ travails all set, it is a screenwriter’s and a director’s job – aided by charismatic performers – to keep it all going in a sweetly predictable but entertaining fashion. The screenwriting team of Patricio Vega and Julieta Steinberg, and director Hernán Goldfrid, all coalesce into a proficient think-tank to turn Música en espera into a delightful wait.
Screenwriters and director, as well as his star-quality leads – the endearing Natalia Oreiro, who may for once get the recognition she deserves as a fine comedian; and Diego Peretti, far from attractive but so dexterous and adroit that he turns his unconventional features into the most handsome of leads and a believable ladies’ man.
All in all, Música en espera, much like the Renée Zellwegger-Ewan McGregor vehicle Down With Love (2003), is a throwback to – and a very good, fine-tuned one at that – the romantic comedies of the 50s and early 60s.
Would Doris Day and Rock Hudson hold on to get their call through as they listen to the switchboard’s Música en espera?
My guess is that they would, and that they would fall in love to the tune of the listen-as-you-wait music on the phone.
PRODUCTION NOTES
Música en espera (2009) Directed by: Hernán A. Goldfrid. Written by: Patricio Vega & Julieta Steinberg. Starring: Diego Peretti, Natalia Oreiro, Norma Aleandro and Rafael Spregelburd. NR.
On the Web: http://www.musicalapelicula.com.ar/
* Published in The Buenos Aires Herald on March 19th, 2009
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