Evita: Blossoms in the Dust
Her name was Maria Eva Duarte. Being very young, she became known as Eva Perón or simply as Evita . Beloved, hated, cheered and elevated to the closest to holiness, its brief existence made it an indisputable icon of the twentieth century.
There are, of course, those who claim that she used her position as Argentine First Ladyto achieve her personal goals. To be famous, transcendent, a star like the one he had not become in cinema. Eva had been an actress. He participated in only six films. “ Seconds out!” (1937), “The Charge of the Brave”(1940), “The Most Unhappy in the People”(1941), “A Bride in Distress”(1942), “The Ride of the Circus”(1945) and “The Prodigal”(same year) .
Much more profusely served on radio. At that time the “radio theater” was a rage andEvawas able to excel in many. The old declamatory style was still in use and most of the actors read their texts according to these rules.
However, despite the fact that initially Eva seemed desperate to reach stardom, today she is remembered for her tireless struggle for the suffrage of women and their obsession with improving the lives of the poor . The breakdown of social contracts by conservative governments disturbed her. Now, how was such a transformation possible?
Eva Perón was born in 1919, in a family of few resources in the city ofLos Toldos . At the age of 15 he traveled to Buenos Aires to try his luck in show business. By 1930 this was not a simple thing. It included a whole series of prejudices tied to female self-management. Therefore, it shouldn’t have been easy to get to sign your first contract.
In 1945, he married Juan Domingo Perón, who in turn became president of the Argentines. A new way of life had modified his original plans. Over time, she became a political woman. But where did this civic consciousness come from? How much does your performance in theater have to do with your career with Perón?
“ Eve Duarte, beyond so much sorrow”, by historian César Maranghello, edited by Proteatro and Eudeba, reconstructs the life of the years before the conversion of Eva in politics. Unveiled, without doubt, some of the keys to this mystery.
In an interview given to Claudio D. Minghetti released by Télam in 2017, the author of “Eva Duarte, beyond such sorrow”, points out one of the keys that illuminated the young actress.
“There’s a Greer Garson movie,” says Maranghello. It refers to “Blossoms in the Dust,” known in Spanish as “De corazón a corazón” Filmed in 1941, apparently, according to the interview made by Minghetti, it became one of the central passions in Evita’s life. I would watch that movie about eleven times. Maranghello clearly states that “De corazón a corazón” was a kind of revelation that helped him build the Eva Perón Foundation. “This film,” the author clarifies, “tells the story of a woman who helps orphaned children find a home, beyond the opposition of” good citizens, “disinterested by poor or illegitimate children.”
In the case of Eva, it should be feasible to specify this moment as the engine of those who shortly after would be described as “the standard bearer of the humble.” Beyond other influences, it was the story that would eventually organize its individual political force, consistently associating some familiar resources. Microphones, cameras, huge audiences, glorious scenes and that oratory that emerged from radio and cinema of the 30s and 40s, which was undoubtedly the clearest mark of his personality.
Overflowing and passionate, “De corazón a corazón” embodied in Eva’s political soul, the product she had dreamed of. His style. Its most finished reflection. The former hope of the dispossessed finally had a voice. This was how the dream of the actress born in Los Toldos, came true. Listening to Evita, it ended up being like listening to the “Heroines” of Radio Belgrano.
The song created by Pedro Orgambide and Alberto Favero says:
“If I were like them
I would look as I am.
Neither sadder nor more beautiful
That bliss or goodbye.
No shame from the past,
Because yesterday is also today.
If I were like them
it would be another my song. ”
The film starring Greer Garson, according to César Maranghello’s comment, thus became part of his ideal. A woman must be able to achieve her own dreams. It was then that Eva stopped playing passionate heroines like Ana Bolena and Josefina, to finally be one of them.
Sergio es un autor e historiador argentino que revisa los movimientos segregacionistas a través de la historia. Ha publicado entre otros libros, Los Escribas de Dios, Los Músicos de Dios, Breve Historia del Mundo y Mitos a Medias. Actualmente es docente de Pensamiento del Siglo XX en la Dirección de Cultura de la Universidad de Belgrano y escribe para Ediciones Fortnel.
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