dialogue with Bethiana Blum It is a delight for the attentive interlocutor who seeks to record dates, anecdotes, memories, names and performers from the great history of Argentine television, cinema and theater.
The indelible presence of “Waiting for the carriage”, but his filmography shows an amazing versatility with films like “The frying pan by the handle”, “Tourists want war”, “Trapped”, “Coexistence”, “Under the flag”, “That damn rib” and “De that is not talked about”, in which he was able to work with a legend like Marcello Mastroianni.
Five decades of television work saw her take part in such hits as “Four men for Eva”, “High comedy”, “Rosa from afar”, “Dare”, “I am a gypsy”, “Murderer women”, “Brave” and “To dress saints”examples that can be mentioned in a capricious and arbitrary selection.
News: In “La pipe de la paz” you have a double facet, actress and director. How was that experience?
Betiana Blum: As a director I immerse myself in the work beyond the technical aspects, I focus on understanding the situations and then see how the actors play with that. I like that part more because there are people who do the technique wonderfully well. As a director, I’m interested in situations being clear and being able to play them, because humor has a lot to do with intentions. That is what we work with Sergio Surraco who is a luxury actor, with vast experience, who also listens, so we have a very good relationship. For links to work, it is essential that people listen to each other and exchange views.
News: Her character, Felisa, is a pretty brave mom, isn’t she?
Blum: She is a mom with capital letters (laughs). She represents a generation of very strong mothers who become more acute with widowhood. Because when they are left alone they bring all her issues to light and stay in her thoughts. Her favorite phrases are “I’m right” and “it’s like that”, so it’s difficult to reconcile. They maintain their position as if it were a war, there peace explodes! (Serie).
News: These days theater people comment that the activity is going very well. To what do you attribute the phenomenon of post-pandemic theatrical flourishing?
Blum: It is a fact that after the confinement people want to connect, to go out and on the other hand, the shows that fill up must be good, because the public is not stupid. What happens is that there are different types, some are lighter, others deeper, or more dramatic. But there are very good actors here.
News: Even today, with the generational change, is the Argentine tradition of high acting level sustained?
Blum: Yes, totally. I don’t know if you saw “The First of Us”, it’s an acting class. Sergio Surraco was also there, all impeccable. It gives me great pleasure to see my colleagues working at that level, they are very, very good and that makes me happy.
News: He is always with multiple projects. What premieres are coming?
Blum: I participated in “Matrimillas”, the film by Sebastián de Caro with Luisana Lopilato and Juan Minujín for Netflix. But soon in Flow “The Good Retirement” is coming, a series of eight chapters with a strong team. We are Claudia Lapacó, María Leal, Mirta Busnelli and I, the action takes place in a very beautiful and traditional house in Olivos. Several things that are discovered jump out, betrayals, affective issues… The book is wonderful, there is even a police plot.
News: Let’s talk about a classic that does not run out. Why do you think that after so many years “Waiting for the float” is still valid and with a multitude of followers that made it an object of worship?
Blum: Look, my Jacobo Langsner, the author of “Esperando la carroza” reminds me a lot of Alicia Muñoz, the author of “La pipe de la paz”. They are people who have an enormous talent for grasping a topic, building a hilarious comedy and at the same time talking very seriously about something. Everything that “Waiting for the float” shows is gloomy, but through humor people are perhaps encouraged to think: “This is not right.” It is a film that is passed from generation to generation because when something is done well it transcends time. The public fell in love, but not the criticism, which was quite lukewarm…
News: At the time it was an event more for the public than for the critics.
Blum: Yes, the public loved her, embraced her, celebrated her. For viewers it was love at first sight, they filled the cinema on Lavalle Street and it remained in force in an unexpected way. “Waiting for the float” is timeless because the problem it poses is that of the human being and his misery, that is always present, we do not finish learning.
News: At the time you were in “In that damn rib” with Susana Giménez, what was it like working with her?
Blum: Susana is a love, a luxury companion, a totally humble person, she behaves like one more. It was very comfortable and very nice to work with her. We had very good chemistry because she is what she looks like, very spontaneous, natural and a good person.
News: You made a memorable character in “Rosa defar”, the country stopped to see that soap opera.
Blum: I have been lucky enough to share many successes and to be a part of that is a blessing.
News: Now society has changed a lot. but you worked on a film with Olmedo and Porcel, “Tourists want war”, did you take it as just another job? Were you comfortable with that material?
Blum: Yes, it is a job and I liked it because it involved doing scenes with Olmedo, acting with him was wonderful. The guy was a genius, what he did was formidable. Never a joke out of place. You don’t know how respectful he was, a duke!
by Leonardo Martinelli
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