assistant. Some time later he was hired to debut as a director, but the civil war broke out and he returned to Buenos Aires. Emilio Zolezzi, aside from being a movie critic, was also the Artistas Argentinas Associados attorney. He tells about the director: When he returned to Spain, his brother Lucio got him a job as custodian in the Rio de la Plata cinematographic studios. In 1937, he was hired as director and screenwriter for the movies Dos amigos y un amor (Two friends and one love) and Veinticuatro horas de libertad (Twenty-four hours of liberty), both starring comedy actor Pepe Iglesias. In 1939, he directed El hijo del barrio (1940, Son of the neighborhood), Corazón the Turco (1940, Turkish Heart) and Chingolo (1941) all of them with their own script. This movie was well received by the public and critics, “It consolidated the exceptional tech team accompanied by Artistas Argentinos Asociados: his brother Lucio on the music band, the assistant Hugo Fregones, the montajussta Carlos Rinaldi, the set builder Ralph Pappier, the lighting specialist from the United States Bob Roberts (from the American Society of Cinematographers), the cinematographer Humberto Peruzzi, the electrician Serafín de la Iglesia, the make up artist Roberto Combi and some others.” The following movie was El cura gaucho, in which he met Enrique Muriño, but even with his abundant commercial success, he was fired from Pampa Films. Filming Lucas Demare thought that January and February (summer) were the best months to work on the filming in Salta but they were told that it was better to do it in winter due to summer being flood season. Demare travelled to Salta to reconnoiter the area. Later, the crew and equipment moved to an old estate and big house. They worked on a big ballroom and had two small rooms; each crewman had a cot and an upside down beer wooden box as night-stand. The actresses and Enrique Muiño, due to his age, stayed in a hotel. At their arrival in Salta, they met with the local military commander, Colonel Lanús, but he was not eager to help, instead placing obstacles in their way. Demare told how they solved the problem: Demare had brought gaucho clothing for the cast, but he realized they were not appropriate for the feel he wanted in the movie as they were brand-new, so he traded the new clothing for local