1959 – El fantasma de la opereta

1959 – El fantasma de la opereta


Cast
Aldo or Baldomiro Valdés – German Valdés “Tin Tan”
Lucy – Ana Luisa Peluffo
Marcucci – Luis Aldás
López, dressmaker – Marcel Chávez
Gertrudis –  Famie Kaufman “Vitola”
Juan – Antonio Brillas
Director – Fernando Cortés
Writer – Alfredo Ruanova
Adaptation – Gilberto Martínez Solares and Juan García
Production company – Brooks S.A., Óscar J. Brooks and Ernesto Enríquez
Producer – Julio Guerrero Tello
Composer – Manuel Esperón
Director of Photography – Jack Draper
Editor – Gloria Schoeman
Designer/sets – Jorge Fernández
Makeup – Margarita Ortega

Pre-existing music
Song list from Beginning Credits
–  “Fumando espero” by Juan Viladonat
–  “No tabuleiro de baiana” by Ary Barroso
–  “Como antes” by Vincenzo Di Paola and Sandro Taccani
–  “Doña Mariquita” by Jacinto Guerrero
–  “Bueños Días Maria” by O. Moreu y A. Alguero
–  “El Relicario” by José Padilla
Not listed
–  “La Lola” by Francisco Alonso
–  Cancan (untitled), composer unknown
–  “Como antes”, composer unknown

In El fantasma de la opereta, Tin Tan stars as Aldo, a bus boy who is enamored with the vedette (showgirl or starlet) Lucy (Ana Luisa Peluffo). After she is fired from her cabaret job, Aldo rents out the romantically named yet abandoned Teatro de la Opereta to ensure she will have a breakout performance. The theater, which Aldo states “looks like Dracula’s mansion,” has a dark past. A menacing presence, el fantasma, haunts the theater, and tortures and kills those who try to perform there. Despite the warnings given by the eccentric theater administrator Jeremías (played by the uncredited Spanish theater and film actor Francisco Reiguera) and the theater’s owner, Señor Marcucci (Luis Aldás), Aldo and Lucy move forward with the show. In between rehearsing musical numbers and renovating the theater, el fantasma sporadically appears either playing the violin, laughing manically, or making objects fly across the room. These actions succeed in scaring Aldo, Lucy, and Lucy’s maid, Gertrudis (Famie Kaufman “Vitola”), but all are determined to go on with the show. Eventually, el fantasma kidnaps Lucy and hides her in the basement of the theater, confessing his love and devotion to her. When he begins to serenade her on the violin, Lucy, convinced that it is Aldo is disguise, pulls off his mask, revealing a distorted and horrifically burned face. The unmasking of el fantasma unleashes more havoc on the theater, leading up to Lucy’s premiere night. In between performances, it is revealed that there are several fantasmas who are a part of a contraband smuggling ring led by the real el fantasma. All fantasmas, comically labeled by Gertrudis as “el sindicato de fantasmas” (“the syndicate of Phantoms”) including the real one, appear together in the final two musical numbers: Vincenzo Di Paola’s “Como Antes” (“As Before”) and the waltz “Nada Más” (“Nothing More”) led in performance by the real el fantasma. After considering the show a success, el fantasma reappears on the theater’s chandelier then mysteriously disappears.

 

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