Amelia Bence
Amelia Bence (born María Amelia Batvinik; 13 November 1914 – 8 February 2016) was an Argentine film actress and one of the
Born to
Bence married Spanish actor Alberto Closas in 1950, and after their divorce she was in a relationship with Osvaldo Cattone in the 1960s. Between 1952 and 1954, Bence was contracted by Reforma Films to film two movies in Mexico and earned high praise for her starring role in Alfonsina (1957), which was selected as the Argentine entry for the Berlin International Film Festival and won her an award from the Argentina Film Academy. She developed an extensive theater career in the 1960s, starring in works like "La dama del trébol", "Así es la vida", "Maribel y la extraña familia" and "El proceso de Mary Duggan".
From 1973 to 1976, she completed a long tour of Latin America and featured in "La valija" ("The Suitcase") at the
During the last stage of her career, she acted in several television productions, including series such as Romina,
In 1989, she received the Silver Condor for Lifetime Achievement Award, and later won awards in the same category at the Podesta Awards in 1992 and by the National Endowment for the Arts in 1997.
Between 1996 and 2010, she appeared in several theaters with her show "Alfonsina", which combined music and poetry. After a career spanning eight decades in entertainment, she retired in 2010.
Biography
Early life
María Amelia Batvinik was born on 13 November 1914 in
Bence recalled that the performance was not without mishap, as she accidentally swallowed a postage stamp she was to place on an envelope; she was distraught, but Storni praised the way she handled the situation.[6] She completed her primary school studies at the Escuela General Roca, while simultaneously studying piano with her sister Esther at the Fontova Conservatory.[7] From the age of ten, she worked as an elevator operator at Gath & Chaves. In her free time, she worked in an acting group led by Pedro Aleandro, the brother of Ben Molar, where she participated in the play Las campanas by Julio Sánchez Gardel.[8]
Despite the opposition of her family to acting, Bence convinced her mother to let her continue studying. Due to no availibility in the National Conservatory of Performing Arts, she decided to learn classical dance with Mecha Quintana at the National Conservatory of Music and Speech, where she briefly attended classes. Quintana assigned her a part in a ballet at the Opera Theatre of Musical Comedy "Wunder Bar" (1933), starring Armando and Enrique Discépolo.[9][10] On one occasion, she filled-in for the star when the performer had an illness during the performance run.[11]
Film and theater debuts
Bence's first film role was as an extra in a scene with
The production had poor sound quality, audiences did not receive it well, and Bence was reluctant to include it in her filmography.
The play was one of her first successes, having over 100 performances. When its run ended at the Odéon, it was transferred to the Cine Monumental and re-released for several more weeks.[16] She and Parravicini also starred in "Ocho en línea" at the Corrientes Theater, but the reviews were scathing. El Mundo reported that "the show seemed unrehearsed" but praised Bence saying, "Newcomer ... , managing with grace and efficiency".[17] In "Conde de Chantenay", which had a short run due to Parravicini's health, Bence was rated by the press as "demure, competent and pleasant" and in "De mí no se ríe nadie", which was directed by León Zárate, she appeared in 200 performances.[18]
In 1937, Bence took a more serious role in
In 1938, Leopoldo Torres Ríos gave Bence her first starring role in film in Adiós Buenos Aires, where she played a showgirl "Luisita" living a bohemian life.[13] In November 1938, she attracted the attention of the public and press when she starred in the play Mujeres at the Smart Theatre, (currently Multiteatro) located on Avenida Corrientes.[24] The play was written by American writer and actress Clare Boothe Luce and also starred Mecha Ortiz.[25] In one of the scenes, Bence appeared bathing in a tub full of foam. She said: "I wore nylon mesh, it was very modest but, as was logical, it did not go unnoticed. I had a very big impact as a result of that scene ... so much so that, the Teatro Maipo ... made a parody of it".[24] The work was described as "original, fresh, and modern", reaching 250 performances. It was revived at the Teatro Fénix de Flores.[26]
Recognition and "The Gaucho War"
In the wake of her successful theatrical season, Bence filmed
In early 1942, Bence filmed
A successful film star
After the success of La guerra gaucha, Bence received only starring roles. In 1943, she agreed to work with Pedro López Lagar on
In 1946, Bence starred with Mecha Ortiz in
In 1947, Bence won the Writers Association award for Best Actress and the inaugural prize for the Hispanoamericano de Cinematografía in Madrid for her role as a wealthy but weak and vulnerable lady, mistreated by an evil nephew in
After marrying Closas in 1950, they formed a theater company and dedicated themselves more frequently to theater performance. The premiere of "La estrella cayó en el mar", though marred by politics, was a success and continued playing to sold-out houses.
Mid-century
Contracted to work for
After ten months, Bence returned to Argentina and ended her marriage to Closas.
The play "Pesadilla" premiered in 1955 and involved a tour of Uruguay, Cordoba, Mendoza, Buenos Aires and Rosario, where they remained playing to a full house for two weeks. In the play, Bence played the character "Mary" and her performance received high praise in
In 1957, she opened the play Testigo para la horca at the Ateneo Theater[72] and began filming her favorite film: Alfonsina (1957) by Kurt Land, based on the life of poet Alfonsina Storni. Despite makeup tests, Bence decided to recreate it bare-faced, without any alterations, depending only on her acting abilities. She won the award for Best Actress[73] from the Argentina Film Academy and the film was chosen as the Argentine entry for the 1957 Berlin International Film Festival.
Foreign press reviews praised her "interpretative restraint" and compared Bence to Austrian actress
Bence's meeting in Europe with director
Working abroad
In 1962, Bence joined an entourage including
At the end of 1968, Bence decided to undertake a six-month tour for the following year through Santiago, Bogotá, Cali, Medellín and Manizales.[91] From Colombia, she went to Venezuela and debuted at the Municipal Theater of Caracas with four works: "Cándida", "Un inocente adulterio", "Un dios durmió en casa" and "Los amantes". Then she went on tour through the Dominican Republic, Puerto Rico and Miami, where she earned good reviews.[92] When she returned from this long tour, she took a hiatus for several months and then agreed to do "Flor de cactus" with Juan Carlos Thorry at the Comedy Theater in Rosario. After its opening run, the project continued on tour through the countryside, in Paraná, Cordoba, Santa Fe and Tucumán.[93]
In the early 1980s, Bence participated frequently on television, part of the main casts of
Later career
Bence's career began to decline around 1986, and she stopped receiving work proposals. The Argentina Actors Association said at the time that 86% of their members were unemployed;[102] however, she was hired for one of the two lead roles in the 1987 production of "Solo 80". The play, by Colin Higgins was presented at the Blanca Podestá Theater on Corrientes Avenue, with Bence playing the character of Harold's mother. The play received good reviews, but failed to attract an audience, and ended in February 1988. Bence spent almost two years out of work and in 1989 traveled to Cuba to attend the International Festival of New Latin American Cinema, where she met Fidel Castro at a reception.[103] Later that year, she was honored with the Silver Condor Award for Lifetime Achievement at the same ceremony where Sabina Olmos was honored.[104] In 1992, she also won the Pablo Podestá Prize for Lifetime achievement, along with Niní Marshall and Margarita Padín.[105]
In 1990, Bence was reunited with Closas to act in "Cartas de amor".[106] She then embarked on the longest road tour of her life and spent the next 21 months (until November 1992) touring "Esta noche hablamos de amor" in Buenos Aires, Rosario, Córdoba, Mendoza and Mar del Plata. In 1993, she worked in television on a telenovela Esos que dicen amarse, which starred Carolina Papaleo and Raúl Taibo.[107] She had a supporting role in the series Con alma de tango (1995) alongside Luisa Kuliok and Gerardo Romano, which had an international run throughout Latin America and in some European countries such as Italy, Israel and Turkey.[108]
In 1998, Bence and Libertad Lamarque received a Golden Ángel "Cholo" Peco award from the Society of Distributors of Newspapers and Magazines.[109] She was part of the cast of the Teatro de la Ribera in 1998, playing in "Hoy ensayo Hoy", which brought together veteran actors Elena Lucena and María Aurelia Bisutti.[110]
After participating in "Sin condena" and "Alta comedia" in the mid-1990s,[111] she was hired in 1999 to do a play at the XIV International Festival of Hispanic Theater, but due to technical problems it was canceled. She persuaded Osvaldo Cattone to direct the play "Venecia", in which she starred in 2002 in Lima.[112] In 2003, Bence ventured into children's theater with the work "Amor invisible" with Gustavo Monje. The play combined magic, dance, music and theater, recreating a fairyland.[113] She returned to television in 2004 joining Pablo Granados and Pachu Peña in the comic series No hay dos sin tres, for which she was nominated in 2005 for the category of "Special Participation in Fiction" for the Martín Fierro Awards.[114]
In recent years, Bence has received many awards acknowledging her long career. In 2006, she was honored by the Actors Social Work (OSA)[115] and in 2007, she received the inaugural Javolandia Award for lifetime achievement from the Javo Rocha Academy of Theater.[116] She was given a certificate of recognition during the María Guerrero Awards ceremony in 2007[117] and in 2008 she received the Trinidad Guevara Achievement Award with Jorge Rivera López.[118] In late 2009, a tribute in her honor was held by the Northern Region of the Argentine Society of Writers, in which the Mayor of San Isidro presented a poetry anthology and designated the hall with Bence's name.[119]
For 14 years, before a fall which caused a hip fracture, Bence put on her one-man-show, "Alfonsina".[73] In April 2010 she fell and underwent surgery.[120] In June 2011, Bence was declared Outstanding Personality of Argentine Culture under an initiative of Deputy Juan Pablo Arenaza.[121] Soon after, with the help of Raul Etchelet, she published her memoirs, La niña del umbral: Amelia Bence: memorias (Corregidor 2011).[122] In 2012, El día que cambió la historia, a documentary filmed in 2010, was released. It was her first film in 40 years and was a film about the labor movement under the Perón regime.[123]
Personal life
Her first partner was Roberto Fernández Beyró, with whom she had a relationship from 1941[124] to 1944: The relationship ended when Fernandez Beyró asked her to give up her career.[125] Two years later, during the filming of Maria Rosa (1946), she met the Spanish actor Alberto Closas, whom she married in 1950. They formed an artistic partnership as well as being a married couple and worked on films and plays together. In 1953, Bence returned from working abroad to discover Closas was having an affair, and decided to end the marriage.[126] Bence maintained a good relationship with Closas for the rest of his life; they even worked together again and she mourned his death in 1994.[10]
In the mid-1950s she had a brief romance with the writer José María Fernández Unsáin, until his exile to Mexico in 1958. From 1964 to 1970, she remained in a relationship with Osvaldo Cattone, who was 19 years her junior. He directed her in "Doña Rosita, la soltera" and she worked with him in Peru on several occasions.[127] Her last husband was "Charlie" Ortiz Basualdo,[128] whom she lived with from 1980 to 1982.[129] Up until suffering a serious hip fracture she exercised regularly, performing yoga, and maintained a very active life combined with a healthy diet.[10]
Death
Bence died on 8 February 2016 in Buenos Aires at the age of 101.[130][131]
Legacy
Bence has left a film legacy stretching through eight decades.[10] In 1973, she was awarded the keys to the city of Miami during her season of "La valija". In 1981, the Pablo C. Ducrós Hicken Museum of the Cinema designated the Pathé Chamber to her in recognition of her stature as "a first figure of national cinema". In 1995, the Senate of the Nation of Argentina awarded a cultural diploma for her contributions to the culture of Argentina and two years later, the National Endowment for the Arts granted her a lifetime achievement award. She was also made an honorary member of the Academy of Motion Picture Arts and Sciences of Argentina in 2007.[132]
During her career, she was described as "the face of Argentine film",[13] and through the years, many hailed her as having "the most beautiful eyes in the world." Bence liked to tell a story that Paul Newman once recounted that he wore sunglasses to hide his eyes so he would be known for his acting. She agreed that the work was the more important legacy.[6] In November 2010, the journalist Daniel Gómez Rinaldi published a book entitled Amelia Bence: Los ojos más lindos del mundo, a biography of the actress.[133]
I think I caught my dream. I wanted to be an actress and I was. And this dream will never end ... I am of a generation of actresses and actors who made themselves in an adventure of cinema and theater, that dreamt and created poets, madmen and bohemians.
— Amelia Bence, [134]
Autobiography
- Bence, Amelia; Etchelet, Raúl. La niña del umbral: Amelia Bence: memorias Buenos Aires, Argentina: Corregidor (2011) (in Spanish)
Filmography
Films
- Dancing(1933)
- La fuga (1937)
- El forastero (1937)
- Adiós Buenos Aires (1938)
- La vuelta al nido (1938)
- Los caranchos de la Florida (1938)
- Hermanos (1939)
- El matrero (1939)
- El haragán de la familia(1940)
- Novios para las muchachas (1941)
- La casa de los cuervos (1941)
- El tercer beso (1942)
- En el viejo Buenos Aires (1942)
- Cruza (1942)
- La guerra gaucha (1942)
- Son cartas de amor (1943)
- Los ojos más lindos del mundo (1943)
- Todo un hombre (1943)
- Nuestra Natacha(1944)
- Veinticuatro horas en la vida de una mujer (1944)
- Camino del infierno(1945)
- Las tres ratas(1946)
- María Rosa (1946)
- Lauracha (1946)
- El pecado de Julia(1948)
- A sangre fría(1947)
- La otra y yo (1949)
- La danza del fuego(1949)
- La dama del collar (1949)
- Romance en tres noches (1950)
- Mi mujer está loca (1952)
- La Parda Flora (1952)
- Siete Mujeres (1953)
- Las tres Elenas(1954)
- El hombre que debía una muerte(1955)
- Alfonsina (1957)
- Dos basuras (1958)
- De espaldas a la puerta (1959)
- La cigarra no es un bicho(1963)
- La industria del matrimonio(1964)
- Los debutantes en el amor (1969)
- Adiós, Alejandra(1973)
- El día que cambió la historia (2012) (documentary)
Television
- Los premios Nobel (1958) (mini-series)
- Topaze (1960) (mini-series)
- Espectáculo eléctrico estándar (1965) (mini-series)
- Dulce fugitiva (1979)
- Bianca(1980)
- Romina (1980)
- Las 24 horas (1981)
- Esos que dicen amarse (1993)
- Son o se hacen (1997)
- No hay 2 sin 3 (2004)
See also
References
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- ^ Bence & Etchelet 2011, p. 11.
- ^ Bence & Etchelet 2011, pp. 17–8.
- ^ Pérez Blanco 1975, p. 52.
- ^ a b Aubele, Luis (26 January 2003). "Me gustaría que me recordaran por mi trabajo". La Nación (in Spanish). Buenos Aires, Argentina. Retrieved 5 June 2015.
- ^ Bence & Etchelet 2011, p. 22.
- ^ Bence & Etchelet 2011, p. 24.
- ^ Bence & Etchelet 2011, pp. 28–9.
- ^ a b c d Soto, Moira (6 September 2002). "Amelia Bence" (in Spanish). Buenos Aires, Argentina: Página 12. Retrieved 6 June 2015.
- ^ Bence & Etchelet 2011, p. 30.
- ^ Bence & Etchelet 2011, p. 32.
- ^ a b c Blanco Pazos & Clemente 2008, pp. 36–37.
- ^ Posadas, Abel (2009). "Amelia Bence Capítulo XII". Damas Para la Hoguera (in Spanish). Buenos Aires, Argentina: Instituto Nacional de Cine y Artes Audiovisuales & Escuela Nacional de Realización y Experimentación Cinematográfica: 5. Retrieved 6 June 2015.
- ^ Bence & Etchelet 2011, pp. 35–6.
- ^ Bence & Etchelet 2011, p. 38.
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- ^ Bence & Etchelet 2011, pp. 40–1.
- ^ Bence & Etchelet 2011, pp. 42–3.
- ^ Bence & Etchelet 2011, p. 48.
- ^ Madrid 1946, p. 191.
- ^ Núbila 1998, p. 195.
- ^ Bence & Etchelet 2011, pp. 48–50.
- ^ a b Bence & Etchelet 2011, p. 52.
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Mujeres. Comedia en tres actos. 102 páginas. Mecanografíadas. Versión castellana de Francisco Madrid Alier. Claire Boothe. Dada en el Teatro Smart, por la compañía de Mecha Ortiz. Buenos Aires, 1938.
- ^ Bence & Etchelet 2011, p. 54.
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- ^ Barnard & Rist 1996, pp. 19–21.
- ^ Bence & Etchelet 2011, pp. 72–73.
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- ^ Bence & Etchelet 2011, p. 77.
- ^ a b Bence & Etchelet 2011, p. 79.
- ^ Bence & Etchelet 2011, p. 83.
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- ^ Bence & Etchelet 2011, pp. 97–99.
- ^ Hal Erickson (2016). "Lauracha". Movies & TV Dept. The New York Times. Archived from the original on 7 March 2016. Retrieved 29 August 2015.
- ^ Luna 1984, p. 481.
- ^ Bence & Etchelet 2011, p. 100.
- ^ Bence & Etchelet 2011, p. 103.
- ^ Bence & Etchelet 2011, pp. 108–109.
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- ^ Bence & Etchelet 2011, pp. 111–113.
- ^ Bence & Etchelet 2011, p. 123.
- ^ a b Bence & Etchelet 2011, p. 126.
- ^ Posadas 1994, p. 58.
- ^ Bence & Etchelet 2011, p. 137.
- ^ Bence & Etchelet 2011, p. 140.
- ^ Bence & Etchelet 2011, pp. 145–47.
- ^ Bence & Etchelet 2011, p. 150.
- ^ Riera 1969, p. 129.
- ^ Bence & Etchelet 2011, p. 153.
- ^ Bence & Etchelet 2011, p. 154.
- ^ a b Bence & Etchelet 2011, pp. 156–157.
- ^ La Jornada (6 October 1997). "FERNÁNDEZ Unsaín, José María". Escritores Cinemexicano (in Spanish). Mexico City, Mexico: Universidad Nacional Autónoma de México. Archived from the original on 20 July 2012. Retrieved 7 June 2015.
- ^ Aguilar & Manetti 2005, p. 32.
- ^ Bence & Etchelet 2011, p. 159.
- ^ Bence & Etchelet 2011, p. 161.
- ^ a b Bence, Amelia (4 January 2009). "Alfonsina, el mar y yo" (in Spanish). Buenos Aires, Argentina: Página 12. Retrieved 7 June 2015.
- ^ Bence & Etchelet 2011, pp. 164–165.
- ^ Bence & Etchelet 2011, pp. 166–167.
- ^ Bence & Etchelet 2011, p. 169.
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- ^ Bence & Etchelet 2011, pp. 203–205.
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- ^ Bence & Etchelet 2011, pp. 237–38.
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- ^ Bence & Etchelet 2011, p. 249.
- ^ Bence & Etchelet 2011, p. 251.
- ^ Bence & Etchelet 2011, p. 245.
- ^ Bence & Etchelet 2011, pp. 252–54.
- ^ Bence & Etchelet 2011, p. 257.
- ^ Bence & Etchelet 2011, pp. 263–65.
- ^ Bence & Etchelet 2011, pp. 268–269.
- ^ Bence & Etchelet 2011, pp. 279–280.
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- ^ Bence & Etchelet 2011, p. 338.
- ^ Noticias de la semana, Issues 801–805 (in Spanish). Buenos Aires, Argentina: Editorial Perfil. 1992. p. 175. Retrieved 7 June 2015.
- ^ Bence & Etchelet 2011, p. 284.
- ^ Bence & Etchelet 2011, pp. 285–286.
- ^ Bence & Etchelet 2011, p. 288.
- ^ "Premios a La Nación". La Nación (in Spanish). Buenos Aires. 20 November 1998. Retrieved 7 June 2015.
- ^ Bence & Etchelet 2011, p. 292.
- ^ Blanco Pazos & Clemente 2004, pp. 63, 403.
- ^ Martínez, Adolfo C. (17 February 2002). "Amelia Bence viajará a Perú para interpretar "Venecia"". La Nación (in Spanish). Burenos Aires, Argentina. Retrieved 7 June 2015.
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- ^ Papic, Diego (17 August 2011). "El libro de memorias de Amelia Bence ya está a la venta" (in Spanish). Buenos Aires, Argentina: Cinenacional.com. Archived from the original on 7 June 2015. Retrieved 7 June 2015.
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- ^ "Amelia Bence: los ojos más lindos del mundo". Revista Caras (in Spanish). 590. Buenos Aires, Argentina: Perfil. 1993.
- ^ Cosentino, Olga (2002): «Amelia Bence: "A mí me gusta el hombre poderoso"», interview, 18 November 2002, Clarín (Buenos Aires).
- ^ Bence & Etchelet 2011, pp. 263–265.
- ^ La Nación (8 February 2016). "Murió Amelia Bence, la actriz de los ojos más lindos del mundo" (in Spanish). Archived from the original on 9 February 2016. Retrieved 8 February 2016.
- La Nacion (in Spanish). 8 February 2016. Archived from the originalon 9 February 2016. Retrieved 8 February 2016.
- ^ Bence & Etchelet 2011, pp. 337–341.
- ^ ""Los ojos más lindos del mundo" el libro de Daniel Rinaldi" (in Spanish). Buenos Aires, Argentinta: Haceinstantes. 30 October 2010. Retrieved 7 June 2015.
- ^ Bence & Etchelet 2011, p. 297.
Sources cited
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- Barnard, Timothy; Rist, Peter (1996). "One: Argentina". South American Cinema: A Critical Filmography 1915–1994. Garland Publishing. ]
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- Pérez Blanco, Lucrecio (1975). La poesía de Alfonsina Storni (in Spanish) (1 ed.). Madrid: Pérez Blanco. ISBN 978-84-400-9205-2.
- Posadas, Abel (1994). Carlos Schlieper (in Spanish). Buenos Aires: Centro Editor de América Latina. ISBN 950-25-3166-3.
- Riera, Emilio García (1969). Historia documental del cine mexicano: 1955 (in Spanish). Ediciones Era.
External links
- Amelia Bence at IMDb
- Profile of Amelia Bence, cinenacional.com (in Spanish)