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Tita Merello

{{Short description|Argentine actress and singer (1904–2002)}}

{{Use dmy dates|date=January 2020}}

{{Infobox person

| image = Tita Merello.jpg

| alt =

| caption =

| birth_name = Laura Ana Merello

| birth_date = {{Birth date|1904|10|11|df=y}}

| birth_place = Buenos Aires, Argentina

| death_date = {{Death date and age|2002|12|24|1904|10|11|df=y}}

| death_place = San Telmo, Buenos Aires, Argentina

| resting_place = La Chacarita Cemetery

| occupation = {{hlist|Actress|dancer|singer}}

| years_active = 1930–1985

}}

Laura Ana "Tita" Merello (11 October 1904 – 24 December 2002) was an Argentine film actress, tango dancer and singer of the Golden Age of Argentine cinema. In her six decades in Argentine entertainment, at the time of her death, she had filmed over thirty movies, premiered twenty plays, had nine television appearances, completed three radio series and had had countless appearances in print media. She was one of the singers who emerged in the 1920s along with Azucena Maizani, Libertad Lamarque, Ada Falcón, and Rosita Quiroga, who created the female voices of tango. She was primarily remembered for the songs "Se dice de mí" and "La milonga y yo".

She began her acting career in theater and may have made silent films. She debuted on the first sound movie produced in Argentina, ¡Tango!, with Libertad Lamarque in 1933. After making a series of films throughout the 1930s, she established herself as a dramatic actress in La fuga (1937), directed by Luis Saslavsky. In the mid-1940s, she moved to Mexico, where she filmed Cinco rostros de mujer (1947), which earned her an Ariel Award from the Mexican Academy of Film. She returned to Argentina and starred in Don Juan Tenorio (1949) and Filomena Marturano (1950), which were subsequently taken to the theater. Her period of greatest popularity came in the following decade, when she led films like Los isleros (1951), considered her best performance, Guacho (1954) and Mercado de abasto (1955). She also received praise for her work in Arrabalera (1950), Para vestir santos (1955) and El amor nunca muere (1955).{{IMDb name|id=0580658|name=Tita Merello}}

From the 1960s, most of her work was directed by Enrique Carreras. During the period, she had a recurring role in the television series Sábados Circulares and continued making films, like Amorina (1961). Her role in 1974 as La Madre María, directed by Lucas Demare, was highly acclaimed as was her collaboration with Alejandro Doria in Los miedos (1980). She retired from theater in 1984 and films in 1985 but continued to act on TV and radio and was honored as "Citizen of the City of Buenos Aires" in 1990. Until her death at age 98, she continued to make appearances on television and radio.{{IMDb name|id=0580658|name=Tita Merello}}

Biography

=Early years=

File:Tita Merello1.jpg

Laura Ana Merello,{{cite web|title=Proyecto de declaración|url=http://www.legislatura.gov.ar/legislatura/0/images/leg--E3511-2012-D.doc|website=Legislatura|publisher=La Legislatura de la Ciudad de Buenos Aires|accessdate=21 June 2015|location=Buenos Aires, Argentina|language=Spanish|date=22 November 2012}} known as "Tita" was born on 11 October 1904 in a tenement in the neighborhood of San Telmo, Buenos Aires to the coachman Santiago Merello and an ironer, Ana Gianelli.{{cite book|last1=Delgado|first1=Josefina|title=Tita Merello, la morocha argentina|date=2006|publisher=Aguilar|location=Buenos Aires, Argentina|isbn=987-04-0577-0|page=13|edition=1a. |language=Spanish}} The house where she was born has been designated as a historical site.{{cite web|title=Nuevas oficinas de B4FS en San Telmo|url=http://www.b4fs.com/es/actualidades_det.php?cod=026|website=B4FS|publisher=Archivo Becker-Ferrari|accessdate=21 June 2015|location=Buenos Aires, Argentina|language=Spanish}} Her birth certificate did not show her mother's name, but when she was four, her mother's name was recorded with the mother's nationality of Uruguayan.{{cite web|last1=Pinsón|first1=Néstor|title=Biografia Tita Merello|url=http://www.todotango.com/creadores/biografia/167/Tita-Merello/|website=Todo Tango|accessdate=21 June 2015|location=Argentina|language=Spanish}} She had a younger half-brother, Pascual Anselmi, who had a different father.{{cite web|last1=Buscaglia|first1=Natalia|title=Tita Merello – Tanguera de pura cepa|url=http://www.conceptodemujer.com.ar/index.php?option=com_content&view=article&id=178:tita-merello-tanguera-de-pura-cepa-&catid=50:mujer-especial-del-mes&Itemid=49|website=Concepto de Mujer|publisher=La Revista Concepto de Mujer|accessdate=21 June 2015|location=Argentina|language=Spanish}}

Her father died of tuberculosis when she was less than a year old.{{cite book|editor-last1=Herrera de Noble|editor-first1=Ernestina |title=Tita Merello|date=2005|publisher=Clarinx|location=Buenos Aires|isbn=950-782-659-9|page=18|edition=1|language=Spanish}} Merello had a difficult childhood marked by poverty. She was sent to an orphan asylum at age five because her mother had to work. While still a child, she was taken to Montevideo, Uruguay, where she worked as a maid without pay. At age 9, she was diagnosed with tuberculosis and sent to a farm near Magdalena, where she worked in exchange for room and board,{{cite news|last1=Göttling|first1=Jorge|title=Tita Merello, una muñeca brava de verdad|url=http://edant.clarin.com/diario/2002/12/26/c-494971.htm|accessdate=21 June 2015|publisher=Clarín|date=26 December 2002|location=Buenos Aires, Argentina|language=Spanish}} milking cows, cutting yerba mate and grilling food for the workers. She said she knew hunger and fear firsthand, as she lived it every day of her childhood, never going to school or learning to read or write. As an adult, she said of her childhood that it was brief, "Poor childhood is shorter than that of the rich. It was sad, poor and ugly".

At age 12, she returned to the tenement to live with her mother She went to work in a seedy club called Ba Ta Clán, where the chorus girls became known as bataclanas.{{cite news|last1=Wall|first1=Cecilia|title=Falleció Tita Merello|url=http://www.lanacion.com.ar/461453-fallecio-tita-merello|accessdate=21 June 2015|publisher=La Nacion|date=25 December 2002|location=Buenos Aires, Argentina|language=Spanish}} The place had a reputation and women who worked there were thought to be employed somewhere between the "lunfardo" (the Argentine underworld) and a bordello. Around 1917, Merello began working as a showgirl in the Rosita Rodriguez Company at Teatro Avenida and debuted in a play called Las vírgenes de teres. She was booed off the stage and vowed never to sing again, but hunger forced her to look for work in the cafés along the Avenida de Mayo.

She soon earned popularity with her interpretation of the tango "Titina". She met the editor of the newspaper, La Nacion, Eduardo Borrás when she was fifteen, who began helping her learn to read. He later introduced her to Simón Yrigoyen Iriondo, who took charge of ending her illiteracy.{{cite web|title=Tita Merello:Un ejemplo de lucha y de vida.|url=http://noticiasdetango.blogspot.mx/2012/12/tita-merelloun-ejemplo-de-lucha-y-de.html|website=Noticias de Tango|publisher=Tango Argentino|accessdate=21 June 2015|location=Argentina|language=Spanish|date=7 December 2012}} Around 1919, she was performing at the Teatro Porteño in the chorus line and was fined 20 pesos because she wasn't wearing stockings. Years later, in the 1930s, Morello commented how things had changed and women were being paid to go without them.{{cite journal|last1=Bates|first1=Héctor|title=Las entrevistas con Bates y Tita Merello|journal=Revista Antena|date=22 December 1934|url=http://www.clubdetango.com.ar/articulos/tita_merello.htm|publisher=Revista Club de Tango|location=Buenos Aires|language=Spanish}}

Some sources have claimed that Merello filmed silent movies in this period;{{cite news|last1=Oliveri|first1=Marcelo H.|title=Las películas de tango que nunca se estrenaron (Período mudo y sonoro)|url=http://www.laopinion-rafaela.com.ar/opinion/2008/10/07/u8a0702.php|accessdate=24 June 2015|publisher=La Opinion|date=7 October 2008|location=Rafaela, Argentina|language=Spanish}} others claim that "a" movie happened a decade later in 1928;{{cite book|last1=Romano|first1=Néstor|title=Se dice de mí--: la vida de Tita Merello|date=2001|publisher=Sudamericana|location=Buenos Aires|isbn=978-9-500-71949-0|page=145|url=https://books.google.com/books?id=9tQuAAAAYAAJ|language=Spanish}} and some claim her first film was not until ¡Tango! in 1933.{{cite news|last1=Schlam|first1=Andrea|title=Tita Merello: las películas inolvidables del tango|url=http://suite101.net/article/tita-merello-las-peliculas-inolvidables-del-tango-a30013|accessdate=24 June 2015|publisher=Suite 101|date=3 July 2013|location=Buenos Aires, Argentina|language=Spanish}} Some claim there were three films, Buenos Aires tenebroso (1918), a crime drama; La garra porteña; (1918), and Amor de primavera (1918–1919) both directed by Juan Glizé and Vicente Marracino. Multiple sources claim she made Buenos Aires tenebroso directed by Juan Glizé{{cite book|last1=Banegas|first1=Cristina|title=Tita Merello: Biografías de grandes creadores, Vol. 5|date=2006|publisher=Clarín|location=Buenos Aires, Argentina|page=13|isbn=9789507826986|url=https://books.google.com/books?id=tHgrAQAAIAAJ|accessdate=24 June 2015|language=Spanish}}{{cite book|last1=Cabrera|first1=Gustavo|title=Tita Merello (1904–2002): el mito, la mujer y el cine|date=2006|publisher=M.H. Oliveri Editor|location=[Buenos Aires]|isbn=978-9-871-28205-0|page=111|url=https://books.google.com/books?id=nNQuAAAAYAAJ|accessdate=24 June 2015|language=Spanish}} but the year varies from 1917{{cite book|last1=Pellettieri|first1=Osvaldo|title=Del cómico italiano al "actor nacional" argentino|date=2003|publisher=Galerna, Inst. Italiano de Cultura de Buenos Aires|location=Buenos Aires|isbn=978-9-505-56452-1|page=143|edition=1.|url=https://books.google.com/books?id=CdS0jEXMZcgC&pg=PA143}} to 1928.

Tragedy befell her again at the age of 16, when her mother succumbed to tuberculosis and she began wandering from house to house, family to friends and back again. She became a vedette and was known as "La Vedette Rea", but her repertoire and fiery temper gave her a reputation that was counter to other performers, like Sofía Bozán. Her interpretation often incorporated deliberate farce to express the complexities of life. and while she was not known for having a great voice, she gained admiration for the expressiveness of her interpretations, which was well suited for the drama of tango.

=Legitimate theater and recording beginnings (1923–1933)=

In 1923, she got a part as a show girl in the revue Las modernas Scherezadas playing at the renowned Teatro Maipo, performing with the stars Luis Arata, Pepe Arias, and Marcos Caplán. The show's playbills are dated 1924 and list her as the star "La vedette rea".{{cite web|last1=Borrazas|first1=Ruben|title=Tita Merello: bien milonga y bien porteña|url=http://www.lr21.com.uy/cultura/102144-tita-merello-bien-milonga-y-bien-portena|website=LaRed21|accessdate=21 June 2015|location=Uruguay|language=Spanish|date=27 December 2002}} She sang "Trago amargo", a tango,{{cite web|title=Navarrine Julio P. (Letra) Iriarte Rafael (Música) Autor Partitura – Score: Trago Amargo (Tango)|url=http://www.fnac.es/mp2237613/Partitura-Score-Trago-Amargo-Tango|website=FNAC|publisher=FNAC España|accessdate=21 June 2015|location=Madrid, Spain|language=Spanish|quote=Año de Publicación: 1920}} to wide acclaim. That same year, she was in the cast of Cayol's Revue ¿Quién dijo miedo?{{cite web|title=Historia 1924|url=http://www.maipo.com.ar/historia_1924.htm|website=Maipo|publisher=Teatro Maipo|accessdate=18 July 2015|archiveurl=https://web.archive.org/web/20070501122738/http://www.maipo.com.ar/historia_1924.htm|archivedate=1 May 2007|location=Buenos Aires, Argentina|language=Spanish}}

In 1925, she performed in the revue Mujeres, flores y alegría,{{cite news|last1=Parodi|first1=Estela|title=La morocha argentina|url=http://www.lacapital.com.ar/ed_mujer/2010/11/edicion_109/contenidos/noticia_5080.html|accessdate=21 June 2015|publisher=La capital|date=21 November 2010|location=Buenos Aires, Argentina|language=Spanish}} in which she sang the tango "Pedime lo que Querés" by Francisco Canaro with lyrics by Juan Andrés Caruso. Later that year she premiered the tango "Leguisamo Solo" by Modesto Papavero, which had been written as homage to Uruguayan jockey Irineo Leguisamo.{{cite web|last1=Cobian|first1=Oscar|title=Voz Porteña con Silueta Arrabalera|url=http://detangoentango.blogspot.com/2010_11_01_archive.html|website=De Tango en Tango|location=Argentina|language=Spanish|date=19 November 2010}} The tango appeared in the revue En la raya lo esperamos by Luis Bayón Herrera at the Teatro Bataclán.{{cite web|title=Leguisamo solo|url=http://www.hermanotango.com.ar/LetrasTangos/LEGUISAMO%20SOLO.htm|website=Hermano Tango|accessdate=22 June 2015|location=Argentina|language=Spanish}}

File:Titajoven.jpgShe finally was asked to play a role in a dramatic play, El Lazo; her performance earned her an introduction to Pascual Carcavallo, owner of the Teatro Nacional. In 1927, she returned to the Maipo theater to perform the tango "Un tropezón" with Elías Alippi and Sofia Bozán. The performance was criticized harshly by Carlos Gardel, considered the greatest tango performer at the time.

Merello alternated acting with a few forays into recording. In 1927, she recorded two songs for the Nacional-Odeon disc label: "Te acordás reo" and "Volvé mi negra". Between 1927 and 1929 she recorded 18 tangos, in her typical theatrical style. Between 1929 and 1930, she recorded twenty songs for the label RCA Victor, including "Tata... Llevame pal centro", "Che... Pepinito", and "Te has comprado un automovil".{{cite web|title=Tita Merello (vocalist)|url=http://adp.library.ucsb.edu/index.php/talent/detail/29443/Merello_Tita_vocalist|website=Discography of American Historical Recordings|publisher=University of California|accessdate=24 June 2015|location=Santa Barbara, California}} In 1930, she performed onstage in El rancho del hermano.

In 1931, Merello began working at the Revista Voces (Voices Magazine). She was paid 200 pesos for the first article she published. In addition, she wrote pieces for the publisher Abril's Revista Nocturno (Night Magazine) and obtained a journalist's press card.{{cite news|last1=Gregorutti|first1=Hugo|title=Tita, a 10 años de su adiós|url=http://www.eldiario.com.ar/extras/impresa/imprimir.php|accessdate=24 June 2015|publisher=El Diario|date=24 December 2012|location=Buenos Aires, Argentina|language=Spanish}}

A big opportunity presented itself in 1931. Libertad Lamarque had been playing the role of Doce Pesos in "El conventillo de la Paloma" for two years and had over 1,000 performances. She was ready to quit the production{{cite web|last1=Pinsón|first1=Néstor|title=Libertad Lamarque|url=http://www.agenciaelvigia.com.ar/libertad_lamarque.htm|website=Agencia el Vigia|accessdate=24 June 2015|location=Buenos Aires, Argentina|language=Spanish}} and she offered the part to Merello, who quickly accepted. The following year, in 1932, as part of the Compañia de Canaro she worked on the play "La muchachada del centro" and performed the tangos "La muchachada del centro" and a milonga "Me enamore una vez" in the play. It was very successful, running for nearly 900 performances.{{cite web|last1=Burgos|first1=RL|title=La morocha argentina: Tita Merello|url=http://tangoconvozdemujer.blogspot.com/2014/06/la-morocha-argentina-tita-merello.html|website=Tango con Voz de Mujer|accessdate=24 June 2015|location=Argentina|language=Spanish|date=11 June 2014}}

=Early film career (1933–1945)=

File:Tita Merello en Tango.jpg (1933), the first sound film in Argentine cinema.]]

She made her debut in talking films in Argentina's first sound film, ¡Tango! (1933), directed by Luis José Moglia Barth, for which she received 200 pesos.{{cite journal|title=¡Tango!|journal=Galería de Búsqueda|year=2001|issue=49–56|publisher=Editorial Agora|location=Montevideo, Uruguay|language=Spanish|quote=en 1933 Tita apareció en "¡Tango!", la primera película sonora del cine argentino. Por su actuación le pagaron 200 pesos}} The stars of the film were Pepe Arias and Libertad Lamarque. She would also meet a young comic in the film, Luis Sandrini, who had a small part in the film.{{cite book|last1=Pellettieri |first1=Osvaldo |title=Del cómico italiano al "actor nacional" argentino|date=2003|publisher=Galerna, Inst. Italiano de Cultura de Buenos Aires|location=Buenos Aires |isbn=950-556-452-X|page=138|edition=1|url=https://books.google.com/books?id=CdS0jEXMZcgC&pg=PA138|accessdate=27 June 2015|language=Spanish}} She followed it with Ídolos de la radio (1934) a production by Francisco Canaro directed by Eduardo Morera and written by Nicolás de las Llanderas and Arnaldo Malfatti. The musical starred many of Argentina's radio stars. The film was successful and led to the creation of both radio magazines and a new genre of film.{{cite web|title=1934, October 24 – Premiere of "Idolos de la Radio"|url=https://todayintango.wordpress.com/2010/10/24/1934-october-24-premiere-of-idolos-de-la-radio/|website=Today in Tango|accessdate=27 June 2015|date=24 October 2010}}

In 1935, she starred in Noches de Buenos Aires directed by Manuel Romero with Fernando Ochóa, Severo Fernández and Irma Córdoba.{{cite web|title=Noches de Buenos Aires (1935)|url=http://www.cinenacional.com/pelicula/noches-de-buenos-aires|website=Cine Nacional|accessdate=27 June 2015|location=Buenos Aires, Argentina|language=Spanish}}

File:La fuga.jpg in La fuga (1937).]]

In Así es el tango (1937), directed by Eduardo Morera with Olinda Bozán,{{cite web|title=Así es el tango (1937)|url=http://www.cinenacional.com/pelicula/asi-es-el-tango|website=Cine Nacional|accessdate=27 June 2015|location=Buenos Aires, Argentina|language=Spanish}} Merello played a comic role opposite the heroine's role assigned to Luisa Vehil."Romano (2001)," p 23 That same year she followed in a dramatic role in the film, La fuga under the direction of Luis Saslavsky which featured the tango "Niebla del Riachuelo" performed by Merello and written by Enrique Cadícamo.{{cite book|last1=Duviols|first1=Jean-Paul|title=Argentina ilustrada: diccionario cultural|date=2011|publisher=Stockcero, Inc.|location=Doral, FL|isbn=978-1-934768-46-4|pages=135–136|edition=1st|url=https://books.google.com/books?id=hN7H7tyWs8QC&pg=PA136|accessdate=27 June 2015|language=Spanish}} The movie starred Santiago Arrieta and Francisco Petrone and earned praise from the critics.{{cite journal|title=El tango en el cine: La Fuga|journal=Tango y Más|date=March 2011|issue=4|page=14 |url=http://www.nidogauchotango.com/pdfs/revista/rev_marzo2011.pdf|accessdate=27 June 2015|publisher=Asociación Nido Gaucho|language=Spanish}} Following the trend, she began a theatrical run in Montevideo, Uruguay in the play Santa María del Buen Ayre written by Enrique Larreta, which was one of her most acclaimed theatrical roles.{{cite news|last1=Mauro|first1=UG|title=Tita Merello falleció el martes y sus restos eran inhumados hoy|url=http://archivo.lacapital.com.ar/2002/12/26/articulo_108.html|accessdate=27 June 2015 |issue=49,703|publisher=La Capital|date=26 December 2002|location=Buenos Aires, Argentina|language=Spanish}}

Merello was in the play Sexteto by Ladislao Fodor, under the direction of Edmundo Guibourg opened in 1941 in Montevideo at the Teatro Artigas, starring Gloria Guzmán.{{cite web|last1=de Maria y Campos|first1=Armando|title=La gracia frívola y frágil de la gran actriz Gloria Guzmán|url=http://resenahistoricateatromexico2021.net/transcripciones/514_460725.php|website=Resena Historica Teatro Mexico|accessdate=28 June 2015|location=Mexico|language=Spanish}} She made two films in 1942, Ceniza al viento directed by Luis Saslavsky with Pedro López Lagar, Alita Román, and Berta Singerman{{cite web|title=Ceniza al viento (1942)|url=http://www.cinenacional.com/pelicula/ceniza-al-viento|website=Cine Nacional|accessdate=27 June 2015|location=Buenos Aires, Argentina|language=Spanish}} and 27 millones directed by José Bohr and not released until 1947.{{cite web|title=27 millones (1942)|url=http://www.cinenacional.com/pelicula/27-millones|website=Cine Nacional|accessdate=27 June 2015|location=Buenos Aires, Argentina|language=Spanish}}

In 1943, she premiered the play Buenos Aires de ayer y de hoy by Ivo Pelay and Francisco Canaro in Montevideo. The play contained a song that would become recognized as a signature song for Merello, "Se dice de mí". The cast was led by Merello and included the actors Amalia Bernabé, Lalo Malcolm, Maruja Pibernat, Elvira Prada, Enrique Roldán, and Tomás Simari; and singers Eduardo Adrián and Carlos Roldán. After the opening in Uruguay, the play moved in 1944 to the Teatro Alvear in Buenos Aires, where it enjoyed 600 performances. That same year, she also starred in Dos corazones by Pelay at the Alvear with Merello singing "Todo es mentira" and "¿Qué tal?". After completing the season in Argentina, the play moved to the Teatro Artigas of Montevideo.{{cite web|last1=Pinsón|first1=Néstor|title=Las revistas musicales de Canaro (Segunda parte)|url=http://www.todotango.com/historias/cronica/319/Las-revistas-musicales-de-Canaro-Segunda-parte/|website=Todo Tango|accessdate=28 June 2015|location=Buenos Aires, Argentina|language=Spanish}}

In 1945, she performed in Una mujer y un hombre by Pelay under the direction of Manuel Romero and then Merello brought Sexteto from Uruguay to Argentina and premiered the play in Mexico. In January 1946, she took it to Chile, premiering at the Lux.{{cite web|title=Debuta hoy en el Lux Tita Merello con "Sexteto" |url=http://www.acceder.gov.ar/es/598022 |website=ACCEDER|publisher=Ministerio de Cultura|accessdate=28 June 2015|location=Buenos Aires, Argentina |language=Spanish}}

=Middle career (1946–1955)=

In late 1946, Merello went with Sandrini to Mexico. She was contracted to play the cabaret woman who seduced the star Arturo de Córdova in Cinco rostros de mujer{{cite journal|last1=Calzon Flores|first1=Florencia|title=El sistema de estrellas en Argentina durante los cuarenta y cincuenta: el caso de Tita Merello|journal=Revista Montajes|date=January–June 2013|issue=2|pages=53–73 |url=http://www.revistamontajes.org/wp-content/uploads/2013/06/004_Florencia-Calzon-Flores.pdf|publisher=Publicación Semestral del Seminario Universitario de Análisis Cinematográfico|language=Spanish}} The film was directed by Gilberto Martínez Solares and starred Merello, Córdova and Ana María Campoy. Originally three films were to have been made, but the production company went into receivership after one film.{{cite web|last1=Famá Hernández|first1=Roberto|title="La Campoy" o la historia de la niña que aprendió a volar|url=http://coleccionesteatrales.blogspot.com/2012/08/la-campoy-o-la-historia-de-la-nina-que.html|website=Colecciones Teatrales |accessdate=28 June 2015|location=Argentina|language=Spanish}} She won an Ariel Award as Best Supporting Actress for her work in "Faces" at the 1948 ceremonies.{{cite web|title=Ariel > Ganadores y nominados > Tita Merello|url=http://www.academiamexicanadecine.org.mx/ver_ariel.asp?tipo=ariel&idPersona=4002|website=Academia Mexicana de Cine|publisher=Academia de Artes y Ciencias Cinematográficas de Mexico|accessdate=28 June 2015 |location=Mexico City, Mexico|language=Spanish}} She returned to Argentina in 1947 and appeared in the musical comedic play Malena Luce Sus Pistolas, which opened at the Teatro Casino and starred Merello, Roberto Castillo and was the musical debut of Blanquita Amaro.{{cite book|last1=Muñoz Castillo|first1=Fernando|title=Blanquita Amaro: Bárbara Atómica|publisher=Por Esto!|location=Mérida, Yucatán, Mexico|language=Spanish}}

File:Tita film.jpgIn 1948, Sandrini returned and he starred with Merello in Don Juan Tenorio, which was released in early 1949.{{cite web |title=Don Juan Tenorio (1949)|url=http://www.cinenacional.com/pelicula/don-juan-tenorio|website=Cine Nacional|accessdate=28 June 2015|location=Buenos Aires, Argentina|language=Spanish}} In 1948, she starred in the play Filomena Marturano by Eduardo De Filippo, which premiered at the Politeama and went on to performances at the Smart and Odeón Theaters, reaching over 400 performances before it closed in September 1949 and earning wide acclaim. It was so successful, the play was turned into a movie of the same name directed by Luis Mottura in 1950 starring Merello with Guillermo Battaglia, Gloria Ferrandiz and Alberto de Mendoza.{{cite web|title=Filomena Marturano (1950) |url=http://www.cinenacional.com/pelicula/filomena-marturano|website=Cine Nacional|accessdate=28 June 2015|location=Buenos Aires, Argentina|language=Spanish}}

In 1949, she released Morir en su ley directed by Manuel Romero with Roberto Escalada, Juan José Míguez and Fanny Navarro{{cite web|title=Morir en su ley (1949)|url=http://www.cinenacional.com/pelicula/morir-en-su-ley|website=Cine Nacional |accessdate=28 June 2015|location=Buenos Aires, Argentina|language=Spanish}} and La historia del tango directed by Manuel Romero with Fernando Lamas, Virginia Luque and Tito Lusiardo.{{cite web|title=La historia del tango (1949)|url=http://www.cinenacional.com/node/2697/casting|website=Cine Nacional|accessdate=28 June 2015|location=Buenos Aires, Argentina|language=Spanish}} Merello also started appearing at this time on a weekly radio show called Ahora habla una mujer which aired Monday to Friday at 20:30{{cite web|last1=Burgos|first1=R. L.|title=La morocha argentina: Tita Merello |url=http://tangoconvozdemujer.blogspot.mx/2014/06/la-morocha-argentina-tita-merello.html|website=Tango con Voz de Mujer|accessdate=28 June 2015|language=Spanish|date=11 June 2014}} on the Private Broadcasting Network.

File:LosIsleros-1951.jpgIn 1950, Merello starred in one of her most acclaimed films, Arrabalera, directed by Tulio Demicheli in his solo debut{{cite book|last1=Trelles Plazaola|first1=Luis|title=South American cinema: dictionary of film makers|date=1989|publisher=Editorial de la Universidad de Puerto Rico|location=Río Piedras, P.R.|isbn=0-8477-2011-X|page=[https://archive.org/details/southamericancin00trel/page/70 70]|edition=1st|url=https://archive.org/details/southamericancin00trel|url-access=registration|accessdate=28 June 2015}} with Santiago Gómez Cou. In 1950, she won the Premios Sur Award for Best Actress for her performance in Arrabalera and in 1951 won the Silver Condor Award for Best Actress for it.{{cite news|last1=Echeverría|first1=María Rosario|title=Fue en diciembre de 2002|url=http://www.elheraldo.com.ar/noticias/96282_fue-en-diciembre-de-2002.html|accessdate=28 June 2015|publisher=El Heraldo|date=20 December 2013|location=Buenos Aires, Argentina|language=Spanish}}

Those successes were followed with three films that were directed by Lucas Demare: Los isleros (1951), Guacho (1954) and Mercado de abasto (1955). Los isleros received the Premios Sur Award for Best Actress in 1951, followed by the 1952 Silver Condor Award for Best Actress and Guacho received the 1955 Silver Condor Award for Best Actress.{{cite book|last1=Rist|first1=Peter H.|title=Historical dictionary of South American cinema|date=2014|publisher=Rowman & Littlefield|location=Lanham, Maryland|isbn=978-0-8108-6082-7|page=204|url=https://books.google.com/books?id=PrOMAwAAQBAJ&pg=PA204|accessdate=11 June 2015}} In 1953, she was performing at the Teatro Odeón in Hombres en mi vida by Eduardo Pappo.{{cite book|last1=Pellettieri|first1=Osvaldo|last2=Burgos|first2=Nidia|title=Historias del Teatro Argentina: en las provincias, Volumen II|date=2007|publisher=Galerna S.R.L.|location=Buenos Aires, Argentina|isbn=978-950-5-56507-8|edition=1a|url=https://books.google.com/books?id=4xP8V1QeUVkC&pg=PA92|accessdate=28 June 2015|language=Spanish}} 1955 proved to be a busy year as she made three other films: Para vestir santos, El Amor Nunca Muere and La Morocha. Para vestir santos was directed by Leopoldo Torre Nilsson with supporting roles by Beatriz Taibo and Yuki Nambá.{{cite web|title=Para vestir santos (1955)|url=http://www.cinenacional.com/pelicula/para-vestir-santos|website=Cine Nacional|accessdate=28 June 2015|location=Buenos Aires, Argentina|language=Spanish}} El amor nunca muere was directed by Luis César Amadori and she starred with Mirtha Legrand and Zully Moreno.{{cite web|title=El amor nunca muere (1955)|url=http://www.cinenacional.com/pelicula/el-amor-nunca-muere|website=Cine Nacional|accessdate=28 June 2015|location=Buenos Aires, Argentina|language=Spanish}} Her last film in the period would be La morocha directed by Ralph Pappier with Alfredo Alcón and Luis Arata, which was not released until 1958,{{cite web|title=La morocha (1955)|url=http://www.cinenacional.com/pelicula/la-morocha|website=Cine Nacional|accessdate=28 June 2015|location=Buenos Aires, Argentina|language=Spanish}} because of the 1955 military coup d'état which ended the presidency of Juan Perón and sent many into exile.{{cite book|last1=Karush|first1=Matthew B.|title=Culture of class : radio and cinema in the making of a divided Argentina, 1920–1946|date=2012|publisher=Duke University Press|location=Durham [u.a.]|isbn=978-082-2-35264-8|page=[https://archive.org/details/cultureofclass00karu/page/217 217]|url=https://archive.org/details/cultureofclass00karu|accessdate=28 June 2015}}

In the 1950s, Uruguayan travesti Gloria Meneses impersonated Merello as part of her cabaret performances.{{Cite web |title=Página/12 :: soy |url=https://www.pagina12.com.ar/diario/suplementos/soy/1-1925-2011-04-08.html |access-date=2023-12-02 |website=www.pagina12.com.ar |language=es}}{{Cite web |last= |date=2023-08-27 |title=La vida de Gloria Meneses: memoria histórica y silencios |url=https://grupormultimedio.com/la-vida-de-gloria-meneses-memoria-historica-y-silencios-id98093/ |access-date=2023-12-03 |website=Grupo R Multimedio |language=es}}

=Exile and underground (1955–1958)=

File:Tita Merello 1952.pngThough Merello was not political, her success under the Perón regime made her a target and she was accused of trafficking Ceylon tea by an investigating commission. Fleeing to Mexico to escape, she thought she might never work again. There were many artists whose careers came to an end, many who believed that "laughing either at or with a working-class" person would never be possible again. There were no protections in place for artistic expression, leaving artists vulnerable to the whims of whoever was in power.{{cite news|last1=Sáenz Quesada|first1=María|title=1955–1958: la cultura en años de incertidumbre|url=http://www.lanacion.com.ar/664274-1955-1958-la-cultura-en-anos-de-incertidumbre|accessdate=28 June 2015|publisher=La Nacion|date=19 December 2004|location=Buenos Aires, Argentina|language=Spanish}}

She tried to settle in Mexico, but was unable to find work.{{cite web|title=Tita Merello a 100 Anos de su Nacimiento. Un Recuerdo y un Anticipo de la Obra de Teatro de Proximo Estreno.|url=http://www.gacemail.com.ar/notas.php?idnota=714|website=Gacemail|publisher=Escuela de producción integral de televisión|accessdate=28 June 2015|location=Argentina|language=Spanish}} Merello returned to Argentina at the invitation of Hugo del Carril and worked in an amusement park. As she was banned from working in mainstream theater, she worked out of sight of the censors with del Carril, with the pianist and composer Héctor Stamponi, and by recording music with Francisco Canaro.{{cite web|title=Tita Merello 1954–1960 con Francisco Canaro|url=http://compromisopopular.blogspot.com/2007/06/tita-merello-1954-1960-con-francisco.html|website=Compromiso Popular|accessdate=28 June 2015|date=30 June 2007}}

At one point, she worked for a time in the circus and in 1957, she returned to Mexico and did a television production of Eugene O'Neill's Before Breakfast (Antes del desayuno). In 1958, when Arturo Frondizi was elected to the Argentine presidency, Merello was able to return to the country and resume work in movies and the theater.{{cite web|title=Tita Merello|url=http://www.argentina.ar/_es/pais/personalidades/C2859-tita-merello.php|website=Argentina|publisher=Argentina en Noticias|accessdate=28 June 2015|archiveurl=https://web.archive.org/web/20120130203451/http://www.argentina.ar/_es/pais/personalidades/C2859-tita-merello.php|archivedate=30 January 2012|location=Buenos Aires, Argentina|language=Spanish}}

=Late career (1958–1985)=

She immediately returned to the stage in 1958 with two productions: Amorina by Eduardo Borrás followed by Luces de Buenos Aires starring Merello, Hugo del Carril and Mariano Mores.{{cite news|last1=Casciero|first1=Roque|title=Los nazis criollos incendiaban teatros|url=http://www.pagina12.com.ar/2000/00-02/00-02-26/pag23.htm|publisher=Página 12|accessdate=28 June 2015|location=Buenos Aires, Argentina|language=Spanish|date=26 February 2000}} She starred in Miércoles de ceniza by Luis Basurto in 1959 under the direction of Cecilio Madanes, sharing the lead alternately with Eva Frano and in 1961 she performed Estrellas en el Avenia under the direction of Cecilio Madanes. In 1961, she also made a film of the earlier play she had been in Amorina under the direction of Hugo del Carril, who also acted in the film with Golde Flami.{{cite web|title=Amorina (1961)|url=http://www.cinenacional.com/pelicula/amorina|website=Cine Nacional|accessdate=29 June 2015|location=Buenos Aires, Argentina|language=Spanish}}

She returned to the theater in 1962 with La Moreira by Juan Carlos Ghiano and the following year performed Carolina Paternóster by Eduardo Pappo. In 1964, Merello accepted a television role starring in the Channel 11 telenovela Acacia Montero under the direction of Martín Clutet.{{cite web|title=Acacia Montero (1964) |url=http://www.nuestrosactores.com.ar/index.php/component/content/article/25-programas/908-acacia-montero-1964|website=Nuestros Actores |accessdate=29 June 2015|location=Buenos Aires, Argentina|language=Spanish}} That same year, she also made three films. Los evadidos was directed by Enrique Carreras and Merello played opposite Jorge Salcedo.{{cite web|title=Los evadidos (1964)|url=http://www.cinenacional.com/pelicula/los-evadidos|website=Cine Nacional|accessdate=29 June 2015 |location=Buenos Aires, Argentina|language=Spanish}} Mercedes Carreras and Ángel Magaña starred with her in Ritmo nuevo, vieja ola, directed by Carreras and it wouldn't be released until 1965.{{cite web|title=Ritmo nuevo, vieja ola (1964) |url=http://www.cinenacional.com/pelicula/ritmo-nuevo-vieja-ola|website=Cine Nacional|accessdate=29 June 2015|location=Buenos Aires, Argentina|language=Spanish}} In La industria del matrimonio, she again teamed with Magaña and Enrique Carreras.{{cite web|title=La industria del matrimonio (1964)|url=http://www.cinenacional.com/pelicula/la-industria-del-matrimonio|website=Cine Nacional|accessdate=29 June 2015|location=Buenos Aires, Argentina|language=Spanish}}

File:Idolos de entrecasa.jpg

Merello filmed Los hipócritas in 1965 under the direction of Enrique Carreras{{cite web|title=Los hipócritas (1965) |url=http://www.cinenacional.com/pelicula/los-hipocritas|website=Cine Nacional|accessdate=29 June 2015|location=Buenos Aires, Argentina|language=Spanish}} and in 1966 returned to the stage appearing in El andador by Norberto Aroldi, which was made into a film of the same name in 1967 under the direction of Enrique Carreras.{{cite web|title=El andador (1967)|url=http://www.cinenacional.com/pelicula/el-andador|website=Cine Nacional|accessdate=29 June 2015|location=Buenos Aires, Argentina|language=Spanish}} She made two more films with Carreras directing, ¡Ésto es alegría! (1967){{cite web|title=¡Ésto es alegría! (1967)|url=http://www.cinenacional.com/pelicula/esto-es-alegria|website=Cine Nacional|accessdate=29 June 2015|location=Buenos Aires, Argentina|language=Spanish}} and ¡Viva la vida! (1969) to finish the 1960s.{{cite web|title=¡Viva la vida! (1969)|url=http://www.cinenacional.com/pelicula/viva-la-vida|website=Cine Nacional|accessdate=29 June 2015|location=Buenos Aires, Argentina|language=Spanish}} According to her autobiography, Merello also made nearly 40 recordings during this period with the orchestra of Carlos Figari and Héctor Varela.

Merello hosted a talk show, Charlando de todo con Tita on channel 13 from 1970{{cite web|title=Charlando de todo con Tita (1970)|url=http://www.nuestrosactores.com.ar/index.php/component/content/article/25-programas/2268-charlando-de-todo-con-tita-1970|website=Nuestros Actores|accessdate=29 June 2015|location=Buenos Aires, Argentina|language=Spanish}} to 1971 where she told anecdotes, sang and gave advice.{{cite web|title=Programas periodísticos en TV |url=http://www.acceder.gov.ar/es/2095690 |website=ACCEDER|publisher=Ministero de Cutura|accessdate=29 June 2015|location=Buenos Aires, Argentina |language=Spanish}} In 1972, she played in Mar del Plata with a production of Astros y estrellas. Merello published her autobiography La calle y yo (The Street and I) in 1972.

She starred in the production of En vivo y al desnudo by Gerardo and Hugo Sofovich in 1973 and, in 1974, made the film La Madre María under the direction of Lucas Demare,{{cite web|title=La Madre María (1974)|url=http://www.cinenacional.com/pelicula/la-madre-maria|website=Cine Nacional|accessdate=29 June 2015|location=Buenos Aires, Argentina|language=Spanish}} which was well received.{{cite web|title=Tita Merello (born 1904)|url=http://www.todo-argentina.net/biografias/Personajes/tita_merello.htm|website=todo-argentina|accessdate=29 June 2015 |location=Argentina|language=Spanish}}

Merello starred in La risa es salud by Hugo Moser in 1976 and then joined the cast of the Teatro Astros in a theatrical revue led by Adolfo Stray and Thelma Tixou. She filmed El canto cuenta su historia (1976){{cite web|title=El canto cuenta su historia (1976)|url=http://www.cinenacional.com/pelicula/el-canto-cuenta-su-historia|website=Cine Nacional|accessdate=29 June 2015|location=Buenos Aires, Argentina|language=Spanish}} and finished out the year at Mar del Plata in a revue with Los Chalchaleros and Mariano Mores.

In 1980, she filmed Los miedos under the direction of Alejandro Doria with Soledad Silveyra and Miguel Ángel Solá.{{cite web|title=Los miedos (1980)|url=http://www.cinenacional.com/pelicula/los-miedos|website=Cine Nacional|accessdate=29 June 2015 |location=Buenos Aires, Argentina|language=Spanish}} The following year, she revived a talk show format for television with the ATC Channel's Todo Tita.{{cite web|title=Todo Tita (1981) |url=http://www.nuestrosactores.com.ar/index.php/component/content/article/25-programas/2089-todo-tita-1981|website=Nuestros Actores|accessdate=29 June 2015|location=Buenos Aires, Argentina|language=Spanish}} She received a Konex Foundation Diploma of Merit for Best Actress of Dramatic Film and Theater in 1981 and a building, called the Tita Merello Complex on Suipacha Street was named in her honor by the Institute of Cinema and Audiovisual Arts to acknowledge her stature in Argentine film.{{cite news|last1=Martinez|first1=Marcos|last2=Lopez|first2=Alejandra|title=El boom de los nuevos cines |url=http://www.lanacion.com.ar/211279-el-boom-de-los-nuevos-cines |accessdate=17 June 2015|publisher=La Nacion|date=6 April 1997|location=Buenos Aires, Argentina|language=Spanish}}

After a cancer scare in the 1980s, Merello became the spokeswoman for a series of PSAs reminding women to get annual Pap tests and gynecological exams. In 1984, Merello made her last theatrical appearance in Para alquilar balcones as 1/3 of the lead trio with Hugo del Carril and Osvaldo Pacheco. She made her last film in 1985, Las barras bravas{{cite web|title=Las barras bravas (1985)|url=http://www.cinenacional.com/pelicula/las-barras-bravas|website=Cine Nacional|accessdate=29 June 2015|location=Buenos Aires, Argentina|language=Spanish}} and later that same year won a second Diploma of Merit from the Konex Foundation for recognition as Female Tango Singer.

In the late 1980s and early 1990s she did many guest appearances on television. She was also impersonated by Usha Didi Gunatita, part of the ensemble Trans Faces.{{Cite web |date=2024-10-10 |title=Usha: la pionera drag que tendió puentes entre el show y el activismo en Paraguay - Agencia Presentes |url=https://agenciapresentes.org/2020/05/20/usha-pionera-drag-que-tendio-puentes-entre-el-show-y-el-activismo-en-paraguay/ |access-date=2025-02-09 |archive-url=https://web.archive.org/web/20241010200012/https://agenciapresentes.org/2020/05/20/usha-pionera-drag-que-tendio-puentes-entre-el-show-y-el-activismo-en-paraguay/ |archive-date=10 October 2024 }} In 1987 Merello was awarded the title "honorable neighbor" of the city of Villa Gesell and shortly thereafter named "Living Legend Citizen of the City of Buenos Aires". From 1990 to 1992 she appeared in the ATC series Polémica en el bar.{{cite web|title=Polémica en el bar (1990–1992)|url=http://www.nuestrosactores.com.ar/index.php/component/content/article/25-programas/2174-polemica-en-el-bar-1990|website=Nuestros Actores |accessdate=29 June 2015|location=Buenos Aires, Argentina|language=Spanish}}

She received the Argentina Association of Actors (AAA) Premio Pablo Podestá in 1991, a plaque was affixed marking the place of her birth in 1993, in 1996 she was honored by the National Endowment for the Arts{{cite news|title=Una distinción a Tita Merello|url=http://www.lanacion.com.ar/nota.asp?nota_id=174263|accessdate=29 June 2015|publisher=La Nacion|date=28 November 1996 |location=Buenos Aires, Argentina|language=Spanish}} and in 1999 the Neighborhood Association of San Cristobal named a city square after her.

Personal life and death

Merello never married, but she had a decade-long affair with the actor Luis Sandrini. They met in the 1930s on the set of ¡Tango! but for several years were just friends who went to events together. In the late 1930s the affair became passionate{{cite news|title=Tita y Sandrini, la historia de un amor inolvidable|url=http://edant.clarin.com/diario/2002/12/26/c-494980.htm|accessdate=28 June 2015|publisher=Clarín|date=26 December 2002|location=Buenos Aires, Argentina|language=Spanish}} and Merello referred to Sandrini as the love of her life.{{cite news |title=Hace diez años, la eterna Tita Merello se iba para siempre|url=http://www.telam.com.ar/notas/201212/2237-hace-diez-anos-la-eterna-tita-merello-se-iba-para-siempre.html|accessdate=28 June 2015|publisher=Télam|date=22 December 2012|location=Buenos Aires, Argentina|language=Spanish}} She followed him to Mexico in 1946, but was unable to go with him to Spain during his 1948 trip. When he returned, Sandrini met and married the actress Malvina Pastorino{{cite web|title=Luis Sandrini (1905–1974)|url=http://www.todo-argentina.net/biografias/Personajes/luis_sandrini.htm |website=Todo-argentina|accessdate=28 June 2015|location=Buenos Aires, Argentina|language=Spanish}} in Uruguay in 1952.

Merello died on Christmas Eve 2002, aged 98.

Autobiography

  • Merello, Tita. La Calle Y Yo Buenos Aires: Editorial Kier (1972) (in Spanish)

Awards

  • 1948 Ariel Award Best Supporting Actress, Mexico for Cinco rostros de mujer
  • 1950 Premios Sur Best Actress Award for Arrabalera{{cite web|title=1950 Premios Anuales|url=http://www.academiadecine.org.ar/project/1950/|website=Academia de las Artes y Ciencias Cinematográficas de la Argentina|accessdate=28 June 2015|location=Buenos Aires, Argentina|language=Spanish}}
  • 1951 Silver Condor Best Actress award for Arrabalera
  • 1951 Premios Sur Best Actress Award for Los Isleros{{cite web|title=1951 Premios Anuales|url=http://www.academiadecine.org.ar/project/1951/|website=Academia de las Artes y Ciencias Cinematográficas de la Argentina|accessdate=28 June 2015|location=Buenos Aires, Argentina|language=Spanish}}
  • 1952 Silver Condor Best Actress award for Los Isleros
  • 1955 Silver Condor Best Actress Award for Guacho
  • 1981 Konex Foundation Diploma of Merit - Actress Dramatic Film and Theatre{{cite web|title=Tita Merello|url=http://www.fundacionkonex.org/b251-tita_merello|website=Fundacion Konex|accessdate=25 June 2015|location=Buenos Aires, Argentina|language=Spanish}}
  • 1985 Konex Foundation Diploma of Merit – Female Tango Singer
  • 1991 Premio Pablo Podestá Argentina Association of Actors (AAA)
  • 1996 Statuette Luna del Fondo Nacional de la Artes
  • 2005 National University of Lanus (UNLa) revealed a mural on the wall of the theater auditorium in tribute to Merello.{{cite web|title=UNLa: Mural de Tita Merello e inicio del ciclo de radioteatro|url=http://portal.educ.ar/noticias/educacion-y-sociedad/unla-mural-de-tita-merello-e-i.php|website=El portal educativo del Estado argentino|publisher=Ministerio de Educación|accessdate=25 June 2015}}

Filmography

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References

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External links

{{Commons category}}

  • [http://www.tita-merello.com.ar/ Unofficial website] {{in lang|es}}
  • {{IMDb name|id=0580658|name=Tita Merello}}
  • {{Cinenacional name|id=tita-merello|old_id=6429|name=Tita Merello}}

{{Authority control}}

{{DEFAULTSORT:Merello, Tita}}

Category:1904 births

Category:2002 deaths

Category:Argentine people of Italian descent

Category:Argentine people of Uruguayan descent

Category:Actresses from Buenos Aires

Category:Argentine film actresses

Category:Tango film actresses

Category:Illustrious Citizens of Buenos Aires

Category:Tango singers

Category:20th-century Argentine actresses

Category:20th-century Argentine women singers

Category:Singers from Buenos Aires

Category:Burials at La Chacarita Cemetery