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La Vendedora de fantasías

1950 Argentine film From Wikipedia, the free encyclopedia

La Vendedora de fantasías (The Fantasy Saleswoman) is a 1950 Argentine crime comedy film directed by Daniel Tinayre during the classical era of Argentine cinema. It stars Mirtha Legrand and Alberto Closas.

Directed byDaniel Tinayre, Orlando Zumpano
Written byAlejandro Verbitsky and Emilio Villalba Welsh
Produced byEdgardo Togni
Quick facts Directed by, Written by ...
La Vendedora de fantasías
Film poster for La Vendedora de fantasías
Directed byDaniel Tinayre, Orlando Zumpano
Written byAlejandro Verbitsky and Emilio Villalba Welsh
Produced byEdgardo Togni
StarringMirtha Legrand and Alberto Closas
CinematographyAlberto Etchebehere
Edited byJorge Gárate
Music byVíctor Slister
Production
company
Release date
  • 1950 (1950)
Running time
97 minutes
CountryArgentina
LanguageSpanish
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Plot

Marta (Legrand), a department store clerk, aids her police detective fiancé (Closas) in hunting down a gang of jewel thieves. She awakens to later realise that it was all a dream.[1]

Cast

  • Mirtha Legrand as Martha
  • Alberto Closas as Roberto / Aníbal Ferro, "Pulguita"
  • Alberto Bello as Jaime
  • Homero Cárpena as Lavanca / policeman
  • Nathán Pinzón as El Cabezón
  • Beba Bidart as Olga Bernard
  • Francisco Charmiello as Pancho
  • Diana de Córdoba as Woman in hotel
  • Pilar Gómez as Catalina / mother of Alberto
  • Haydée Larroca as Cholita
  • Miguel Ligero as Garófalo
  • Alberto Quiles as Mucamo
  • Ramón J. Garay as concierge
  • Alberto Barcel as chief of police
  • Luis García Bosch as Borracho
  • Manuel Alcón as jewelry buyer
  • Carlos Belluci as Sereno
  • Fernando Campos
  • Carmen Llambí as telephonist
  • Jesús Pampín as director of orchestra

Reception

The critic King thought it was "good cinema and another opportunity to laugh" and Noticias Gráficas considered it a "funny, agile and very well filmed police farce". Film writers Raúl Manrupe and María Alejandra Portela write: "Successful at the time, today it can be seen as an exercise of formal and conceptual arbitrariness. Valued in part by the critics, it retains some effective moments."[2]

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