Credits.
The credits will be superimposed over--
1. The city of Buenos Aires on a winter morning.
The sun rises over the Rio de la Plata...
lighting up Buenos Aires.
2. Mario's apartment.
He lives on the top floor of an old building...
that is still a distinguished central address.
The furnishings are quietly modern--
parquet floors, simple furniture, functional lighting.
Who is Mario Suarez, the hero of our story?
That's not as important as what happens to him...
and what he does.
We hear a woman singing the first notes of a tango.
Mario is pensive.
Life is so strange, friend
l didn't love her when l met her
Until one night she firmly said to me
"l'm tired of everything" and left
Life is so strange, friend
That night l fell in love with her
l sacrificed so much trying to forget her
Partied my life away
All over town
How could l know that her affection
Would cause me all the troubles that it did
l wasted my life in bars
So they'd all see l'd forgotten her
But that was a lie
And when l was alone
l cried like a woman, my friend
Two whole years we were together
l never dreamt that l'd fall for her
How could l know that she'd bewitch me
That l'd do anything to see her again
Life is so strange, friend
That was the night l fell in love with her
l didn't know you were here.
l came for my necklace.
- Why did you come, Laura? - l told you.
For the necklace.
The keys...
l found them among my things.
Can we talk, Laura?
What about?
Us.
you and me.
Haven't we said it all?
l can't live this way.
you're everywhere, Laura.
l miss you.
Come back.
Mario, let's not start again.
you don't understand.
Kiss me.
Like that.
- Please kiss me. - No!
lease, l want to. Kiss me
et go of me
you're hurting me!
Let go
'm living with another man! lm happy!
Is he a better lay?
Don't be crude!
Hi, Mr Mario.
- Hw's everything going? - just fine.
l'm moving into the studio.
l'll need a mattress, hi-fi and video...
a few chairs, a table.
- Can you handle it? - Leave it to me.
- When are you moving in? - Tomorrow.
- How's your leg? - Much better.
ln a few days, l won't need this.
- lt was a mirace - l fell aseep.
I wasn't drunk or on drugs, as they said. l was exhausted.
All l remember is a truck coming at me.
They say your whole life flashes by.
you see too many movies. Didn't happen.
l woke up in a hospital with a broken leg.
lt could have been wrse.
Maybe.
Mr. Mario, you don't know me.
l'm a pro at this.
l'm very good. The best of the Guardia Vieja.
Where's Fuentes?
Back to your place.
They're calling us.
Don't forget us.
''The Creole Waltz'', Maestro!
Mario.
Everything's ready for a rehearsal.
- Hi, Mario. - Waldo.
- How's the leg? - l'm ready to dance.
How do you like the place?
l like it.
l'll leave you with Andres.
lf you need me, l'l be in the workshop.
Let's have the slides.
Left side.
Right side.
- Be right with you. - l'll come back.
No, tell me.
l've thought about our talk on the lighting
l think get it.
you want to use color to travel in time.
And use light to show our hero's passage...
from outer light to inner darkness.
That's it.
How are the rehearsals?
lmproving.
l hear you're complicating the show, adding slides...
a wind machine, new dances and lots of other gimmicks.
- Who told you? - Never mind.
you've gt good spies.
l'm looking for links to give it unity.
Sure. We're using new materials...
textures from abroad--
lt's interesting.
l have no idea how it'll come out.
Listen to me for once!
Don't complicate things.
Today, audiences want simple things.
They're used to TV, everything predigested.
They want pure entertainment..
no moralizing, no politics, no heavy thoughts.
The simpler it is, the happier they are!
l talked to them.
- Really. - We had a meeting and--
- And? - They want a good show...
and they'll do anything you want, but--
- But? - Think of other people.
Especially the investors.
lf they don't like me, they can fire me.
Don't be so arrogant!
That's not it.
lf they don't trust me...
l'll quit.
Don't dramatize! They trust you!
That's why they hired you.
But they want a simpIe show with no headaches.
They've got their problems, l've got mine.
But l won't put up with interference
- As usual. - As usual.
Fuck it!
Tonight is a special night...
because here among us are...
dear friends who came to keep us company.
Like Maestro...
Carlos Nebbia
Give him a big hand!
We'll impose on our distinguished guest...
and ask him to delight us with a tango!
Go, Maestro!
Next, in this emotion-filled night...
we hear this unique orchestra...
playing a milonga!
- How are you doing? - Not as well as you.
Don't exaggerate.
l'm Angel Larroca, the owner of this place.
AngeIo to my friends.
- Maestr Stein. - Delighted.
- Mario Suarez. - Delighted.
lt's a rea honor for us to have you here.
May l take a moment of your time?
l'd like to talk to you.
- Now? - l'd be grateful.
Let's go to my table. We'll have more privacy.
Be careful.
- Allow me. - l'm okay, thanks.
See you later.
The guy's dangerous.
What can l do for you?
l'm not quite sure how to put it.
Anyway...
my life is all set up.
Business is fine, and l've got money.
This place is just a whim for me.
Are you aware that l own 50% of your show?
- l put up the money. - What about Alex and Fontan?
They're in on it too.
But as l told you, l'm in control.
Don't look so glum.
- l didn't realize that. - l'm not your enemy.
l'm a big fan of your work.
What l'm going to ask you...
is perfectly normal.
l'm in love with a girl.
She's wild about dancing.
l think she's talented.
l'd give my life for her.
you understand me?
Of course.
That's her, over there...
dancing with the old man.
He's my father.
your father's a pro.
Let's say, as good as one.
But l didn't inherit his talent.
All l'm asking for is...
an audition for her.
No favoritism.
l won't put any pressure on you.
lt's a deal.
She can come by the studio at 11 :00 a.m. tomorrow.
et's do the same as yesterday.
Separate the men and the women.
The women, this side, okay?
- Later they'l mingle. - Okay. Can l start?
yes, and don't stop.
Hello. Hw are you?
To your places. Girls on this side.
Boys on that side.
We'll do a basic eight-beat step.
Ready, Maestro? Five, six, seven, eight--
Very good. The eight in 16 beats.
Five, six, seven, eight--
A double sentada in 16 beats.
Sentada!
lmagine you're holding a boy in your arms. you too!
GirIs, put some joy into it! Some Iove, some spice!
A double hook in 16 beats.
Very good.
Now we'll do...
the double hook...
then the parada.
First the voleo in eight beats.
Now the parada in 16.
Form a circle.
Now we'll do--
Move counterclockwise.
Now we'll practice...
the basic step...
the double hook...
the voleo, the parada..
and the finale in 16 beats.
Make the girls sit mre.
l want to see one body with four legs!
Let's see some joy!
- What do you think? - Brilliant!
He's marvelous!
We've found a cip of Tita Merello.
- And Mercedes Simone? - We're trying.
The little there is is in bad shape.
The best we found on her is a movie from 1932 or 1933.
Called Tango.
- you've seen it? - Sure.
t had Tita Merello, Libertad Lamarque...
Azucena Maizani and Simone.
What a foursome!
What a cast!
See you in five minutes.
l'l be in the shop.
- Fine. - Do you like it?
Some things need fixing--
What?
- Hw are you? - Fine.
- Congratulations. - Thanks.
aura, can l talk to you?
Forgive me?
l don't know what came over me.
you know l couldn't harm anyone.
l don't know.
lt'll never happen again. l swear it!
All right. lt's forgotten.
What you're doing is fabulous!
- Really? - Fabulous
Thanks.
Mario, excuse me.
l want to take a shower. l'm tired.
He wants to dance with you.
- No, with you. - No, you!
- l don't dare. - No, go on!
Not bad.
Very good. you've gotten better.
Don't overdo it.
That's enough. Thanks.
Where do you get alI that energy?
- you jking? - lt's impressive.
lt's my whole life.
My passion!
Good rehearsal. What about the girl?
She's very good.
How long to train her for a lead?
you want her to dance a lead?
you like her?
We'll go all out.
l'm Elena Flores.
Thank you for taking me.
lt's a real pleasure working with you all.
l saw you dance with the Maestro.
He's not easy to follow.
- lt was very good. - Thanks.
l hope l don't let you down.
Welcome.
See you. Bye.
Lend me your cane. Hold ont me.
And bend down. Look...
the floor rises here.
So when the immigrants advance...
we don't see them at first.
- The ramp. - Sure, on the ramp.
All you'll see is the sky...
and the horizon.
The sun starts to rise. lt's dawn.
Then, gradually, heads appear.
Whole families.
Men, women, children, young and old.
All dressed...
in turn-of-the-century clothes.
They carry suitcases, bundles.
Maybe a man carrying his kid piggyback.
What do you think?
Nice image, yes.
We start with a static shot...
using the whle set.
you want props or just a backdrop?
Or pIastic frames?
A backdrop with a Rosco mural.
The images wil vary with the lighting.
Front or back lit.
The light can keep changing...
from dawn to dusk.
The light will symbolize...
exile through the ages.
What do you say?
Great!
Now we have to make it all move.
l have some ideas.
StilI a bit fuzzy.
And?
- l have until? - Tomorrow, Carlos.
- And the music? - A tango.
Agri has such a sensitivity. A virtuoso.
De Lio always looks so absent.
Look at Salgan-- 81 years old.
Eighty-one? lncredible!
My most vivid memory of this school...
is of Don Leandro Garcia Echenique, my teacher.
A Spanish Civil War refugee.
He taught me to love poetry.
A stern man, very brusque..
but so affectionate.
He started classes with ''Long Live the Republic!
Be seated.''
l went to the French school.
My father was a concert violinist.
He taught me theory and notation.
Did you like that?
yes. Family tradition mattered to us.
Granddad was a musician.
And Dad thought he had a by genius under his roof.
Turns out he was right.
Only a few small mammals coexisted with them.
Mankind appeared much later...
when the dinosaurs disappeared...
mysteriously from the panet.
Gradually, the mammals spread over the earth.
Mario!
What's the subject?
you're talking abut--
you're so distracted.
This can't go on.
l was saying that when the dinosaurs reigned--
What do you think?
lt's very good.
you need patience to teach them.
yes. Few children move in harmony.
They're still green, can't control their bodies.
ook...
the little cuple there.
The girl has a feeling for rhythm and dancing.
But he's an oaf.
He can't be taught.
yet she'l only dance with him.
That's how great loves are born, eh?
you said it.
l used to dance too.
- you danced? - And how!
But l've no partner now.
My wife died last year.
Life has n meaning for me now.
The girl putting on her shoes is my granddaughter.
Anita has dancing in her blood.
They say musical sense is hereditary.
Who knows?
Still...
the girl dances as well as her grandfather.
Don't stop, kids.
The group-- faces in profile.
Hands down close at your sides.
Julio?
Neither group should mix with the other...
before the fusion point.
- Okay. - Don't forget...
half the floor will be back, half white.
- you want them further apart. - A bit.
Okay, farther apart. We'll start again.
Don't look at the floor.
Be careful. Don't be nervous.
you're both too far ahead.
How's it going?
- Fine, but she gets away from me. - Keep at it.
ln the Pampas, the knife is in the belt.
ln the slums they hide it...
in their sleeves, ready for use...
sharp side up.
lt's an extension of the arm.
Okay, the bIade is on the Ieft side of the jacket
Both are right-handed. Go!
Not so direct.
Be more catlike. Stalk.
Very good.
Slowly.
That's good.
One of you should break out...
and attack hard, right?
A deep thrust, a scream. Now!
Hold that position.
Turn.
That's the way.
junior, wait.
Sorry. Carlos, hold this tor me a second.
Give me the knife.
lt should be loose in the hand...
the wrist flexible.
lt only stiffens to strike.
your latest acquisition?
What do yu think?
She has a lot to learn.
She's young.
She can learn.
you should know
But watch out, her ''godfather'' is dangerous.
Let's do the trio.
We need another look at it.
you won't need that.
Music!
Did you like it?
- We'll rework it. - Okay.
Thanks. See you later.
Listen, everyone.
We'll do the introduction.
Who did the introduction?
Take your places.
l want to talk to you.
- Must it be now? - lf you can.
can't.
- They're waiting for me. - Then when?
Ask me to dinner.
All right.
you living with somebody?
Come off it. you know who l live with.
Angelo Larroca.
An excellent godfather.
We're splitting up.
Why, if l may ask?
We don't get along.
'm hard to live with.
Living with someone is awfu.
Every time l've tried, it's been a mess.
l'm a special case.
l'm sort f solitary animal...
ne of those old lions...
who roam the African savannah aimlessly.
Linesses are different.
They gather, unite, hunt...
whelp, nurse...
protect their defenseless cubs.
They have a concrete mission in life.
Nurse, protect, mate--
That's a woman's mission in life?
What did you think said?
That.
l didn't mean that. l respect women too much.
Maybe that was a bad analogy.
Men...
have been raised to hunt and fight...
for thousands of years.
Now...
he hunts in his own way.
Let's say he goes haywire...
for a little power...
or a medal or money, a form of power.
lt'd be a shame if women...
followed men in their folly.
That's what l meant.
All l ask of men...
is to respect me, listen to me...
and not treat me like a nut spouting nonsense.
Why is it so hard for men to admit that a beautiful woman...
can also be intelligent?
Must a good mind aways go with an ugly face?
That's not what l think.
How can l put this?
you wake up ne day, look in a mirror...
and say, ''l've aged.''
yu go outside and the young call you mister.
They look at you askance.
To them, you've gone over the hill. you're an old fart.
Time goes by...
your hair starts to faIl out...
then the rest falls apart.
you like good food, you get fat...
you get lazy, stop going out.
Still...
despite the physical decay...
you feel as energetic as a boy.
So what do you do?
Why is it unseemly for a man to act like a boy?
l can't enjoy a girl of 18 because l'm an older man.
How old are you, anyway?
Twenty-three.
you seem younger.
Let's see if l can complete this.
On that day you wonder...
''What life have l had?
What's happened to me?
Where are my youthfuI illusions, my dreams?''
you can't say that. lt's unfair.
you've done wnderful things.
Thank you.
Maybe. But l can't help feeling l've wasted my time.
That l only touched the surface of things.
All l did was to swim frantically...
to avoid sinking into the muck.
How does that sound to you?
Pretentious, eh?
But vivid, right?
Anyway...
all that to say l'm a good guy...
modest, simple...
sensitive, hardworking, honest...
unable to organize my life--
And deeply frustrated in love.
lt's very nice.
l have to leave, Mario.
Stay with me tonight.
l can't.
Someone's waiting? Sorry.
lt's all wrong.
you got carried away by your imagination.
That's not enough, and you know it
you need more discipline.
What's the dramatic line that unifies all this?
The woman leaves him.
The guy falls apart, but another woman appears
A younger dancer.
The guy falls in love.
- He falls in love? - Does he fall in love?
Or is he grasping at straws?
And her?
Does she fall in love?
She exploits it.
He pursues her, despairs if she's not there.
She's everything to him She hides, slips away.
She plays.
He has no time for games.
What's the woman do?
She returns?
l love you. l adore you. l need you.
What a lot of nonsense.
Never changes.
But there's no other way to tell the story.
Inspiration, where are you?
What is inspiration but work, work, work?
Who said that?
A labor leader.
What are you doing?
- How did you get in? - The janitor let me in.
What are you doing with the wind machine?
lmagining a scene.
- Was l in it? - Of course.
Beautiful as ever.
- And unexpected. - l came to keep you company.
At 3:00 a.m.?
l have an idea for your show.
Sit down.
Ready?
Life is so strange, friend
l didn't love her when l met her
Until one night she firmly said to me
"l'm tired of everything" and left
Life is so strange, friend
Ever since that night
l fell in love with her
l sacrificed so much
Lights!
Music!
The kid was 13 or 14.
Those brutes jumped on him...
and bashed his head in...
with their rifle butts and boots.
- They killed him? - Sure. He was dead!
- Maria Elman. - Delighted.
l hear you've worked out a choreography on our theme.
We're looking for ideas in Goya's etchings.
That's perfect.
History repeats itself, aIas.
That's part of our lives.
The horrible, cruel part...
that we wish we could avoid.
But it's there.
Sorry. Waldo Norman, our art director.
The torturers played tangos loud to cover up the screams.
Imagination is a guardrail...
that stops you from plunging into the pit of horror.
l'm haunted by images of friends...
who disappeared.
Thousands lost their lives...
in that brutal and uncontrolled repression.
l left here when l was young.
Relatively young.
spent many years in Europe. When l got back...
most of my friends had disappeared.
What remained...
was this city, compIetely changed.
Ugly, grey and distrustful.
Why think about all that?
Ugly things are best forgotten.
Who we are...
how we live, how little we are--
lf we forget all that...
what identity wil we have?
But now you're here.
We have each other.
We're lucky.
What's that?
Sound effects. They're testing.
you know, l'm worried.
l think l'm being followed.
Today when l came over...
a car followed my taxi.
- Larroca? - Who else?
you're not imagining things?
Maybe.
But Angelo scares me. He's violent.
He's Mafia.
The other day he said, ''lf you leave me, lll kill you.''
Come and live...
with me.
you mean it?
lf yu feel that l love you, come here.
Come live with me.
you've gt problems.
l don't want to be one more.
you'll move in tomorrow?
Good work, kids.
l don't like it.
Why bring up something that has been forgotten?
Why create more anxiety?
That number threatens the whole show!
- lt scared me! - l can see why!
lt could be softened.
What do you say, arroca?
l want to think it over first.
- Hello. - What did you think?
We liked the show a lot.
Very impressive.
l don't think you need that scene. The audience wn't get it.
We gave them beautiful dancing...
beautiful women...
lovely tango music.
Then here, it all turns to fear, anxiety.
That doesn't beong in a musical.
lt's my conception of the show.
Maybe you could soften it a bit.
The generals won't ike it.
Depends which ones.
There's a fascinating Borges quote:
''The past is indestructibe.
Sooner r later things turn up again.
One of the things that turns up...
is a plan to destroy the past.''
Very clever.
But one washes dirty linen at home.
Depends on the linen and the home.
Think it over. We disliked it.
won't press it further.
God night.
Why'd you want to see me?
Why?
- To talk to you. - What about?
We could talk about lots of things.
l'd rather discuss us.
Haven't we said it all?
Not everything.
l can't live this way, Elena.
l can't forget you, try as l may.
Please.
Come back to me.
Angelo, let's not start that again.
l love you, Elena.
l love you...
and l want you.
l need to kiss you, make love to you.
Please...
kiss me.
Kiss me, Elena.
l love you!
Let go of me!
l don't love you. l never did
l'm living with another man and l'm happy!
l don't care, Elena.
l don't care.
l can forgive everything!
Right now!
Let me go!
Let me live in peace.
you're making a mistake, Elena
you're making a mistake!
No one plays games with me
Please.
My love.
How was it?
- What's wrong? - l got scared.
That's fine. Thanks, everyone.
That's al for today.
l want you all in the studio...
tomorrow at 8:00 a.m. for the immigration ballet.
ln costume and made up by 11 :00.
Okay?
- you liked my work? - Terrific
- Marvelous. - Was l convincing?
Let's go.
Let's see what the director says.
Let's go.
Congratulations, Maestro.
- you were great. - Thanks.
Sorry, but one thing bothers me.
My shout comes too soon.
lt's not spontaneous enough.
That's the troube.
l was terrified. l thought he stabbed her.
Set up a rehearsal for me tomorrow so l can work on my timing.