History of Cinema in CHILE

Historical overview

History of cinema from 1896-2000

Film was introduced in Chile only a few months after the famous showings of the Lumiere Brothers in Paris. In Santiago de Chile on August 25 1896 the first reels with the Cin�matographe were shown to an astounded audience. The Vitascope followed only weeks after. In Chile cinema history began with Ej�rcito general de bombas (Firefighters' Corps, 1902) a three-minute view of the city's firefighters on parade by Edmundo Urrutia. This film is claimed to be the first national "view" on record and was first shown in the Ode�n Room of the Port of Valparaiso. Arturo Larra�n filmed the first shots with some kind of technical creativity. At the funeral of President Pedro Montt in 1910, he included an extended sequence shot from the last wagon of the train carrying the body.

In Chile, Alma chilena (Chilean soul, 1917), was directed by Arturo Mario, a major star of the early Argentine film. Which is probably the reason Alma Chilena is the antipod of Argentina's Nobleza Gaucha, the first major screening accompanied by live music. In this period several foreigners became active in the Chilean cinematic landscape. Salvador Giambastiani, formely employed in Argentina, arrived in 1915. This native Italian filmed, amongst others, "Fiestas de los Estudiantes" as well as "Santiago Antiguo" in 1916 and "Recuerdos del Mineral El Teniente" in 1919. Argentine actors Arturo Mario and Mar�a Pad�n became producer (Padin) and director (Mario) in Chile their work contains "La avenida de las acacias" (1918), "Todo por la patria o jir�n de la bandera" (1918) and "Manuel Rodr�guez" (1920) . Salvador Giambastiani's La agon�a del Arauco (1917) questioned social issues, comparing the lifes of urban and rural inhabitants. Pedro Sienna's "El h�sar de la muerte" (1925) could easily be the first local biopic, describing the life of national hero Manuel Rodr�guez. Other directors from this period are Jose Bohr and yet another Italian, Andr�s Bartolotti. Giambastiani and Sienna are commonly viewed as the Godfathers of Chilean cinema.

Salvador Giambastiani and his wife Gabriela von Bussenius, settled in the city of Santiago and established the first film studio. Gambastiani co-produced his work with Luis Larra�n Lecaros and Guillermo Bidwell, they estbablished the "Chile Film Co". This company produced films like "La agon�a del Arauco"and "El Hombre de Acero" in which names like Pedro Sienna, Jorge D�lano and Rafael Frontaura participated.


Pedro Sienna was a man of various artistic facets. He worked as actor, director and producer. Perhaps he is best remembered for his accomplishment by order of the Andes company Films, of "the H�sar de la muerte, considered by many the best and the most important film of the period. Before this, in 1924, he filmed "Agua de Vertiente", the first feature showing a naked woman. In 1926 in collaboration with Rafael Frontaura, he filmed "La �ltima trasnochada". Allthough film was firmly established in Chilean society during the twenties, no other film director received so much acclaim as Sienna. Film became next to an entertainer, a news carrier and opened new ways of communication throughout the dispursed people of Chile. At the end of decade sound arrived changing cinema forever. 1924 represents another significant event in Chile, the CCC, The Chile Censorship Council was established. The council was originally composed of five persons: the director general of libraries, two persons designated by the president of the republic, and two appointed by the municipality of Santiago. This council, in several different capacities, remains active up to the present day.

Like in the rest of the world, the introduction of sound cinema generated a noticeable dividing line in the history of national cinema. No longer just trying to understand the new art, film became a major contributor in influencing the masses and on the other hand gave opportunity to the same masses to learn more about the evolving foreign world. Jorge D�lano, traveled abroad with the purpose of studying the new methods of cinematographic production. As a result, D�lano is considered to be the "new pillar of the Chilean cinema" in that era. He produced films like Esc�ndalo" and "Norte y Sur". Others began to make name for themselves, Adelqui Millar, Eugenio de Luigoro, with "El hechizo del trigal", "Verdejo gasta un mill�n" (1940) and "Verdejo gobierna en Villaflor" (1940), films featuring a new brilliant star : Ana Gonz�lez. She was and is considered the most outstanding actress in Chilean history.


In 1938, the Government created the CORFO, Corporaci�n de Fomento de la Producci�n, as a first incentive to stimulate industrial activity in Chile. As a result of this initiative, Chile Films was founded to organize and manage local cinematographic productions. In these days filmmakers in Chile had the most advanced studio's in latin America to their disposal. Chile Film Studio's debuted with "Un romance de medio siglo" (1944)and "Hollywood es as�", of the same year. Next to the local productions, the studio's produced several foreign financed features, like "La dama de la muerte", shown in London, and "El diamante del maharaj�", shown in India. Allthough the studio's made out to a good start in the first half of the decade , productions slowly came to a virtual stop (one film a year) in the second half, most likely due to the screen floodings of foreign (big budget) movies and the restrictive government rules.

Some names of this period are "La dama sin camelias" by Jose Bohr, "Tormenta en el alma", de Adelqui Millar, "Memorias de un chofer de taxi by Eugene de Luigoro, "Yo vendo unos ojos negros"by Ren� Olive, and finally in 1949 "Esperanza" by the Argentineans Francisco Mujica and Eduardo Boneo. The start of the fifties is marked by low production levels and therefore sometimes called the second silent period in cinema.


At the beginning of the sixties the first initiatives emerge to stop the fastness of commercial cinema. With the founding, in 1961, of the "Departamento de Cine Experimental" at the University of Chile, new talent arose in Chile, producing and directing films like "Mimbre", "D�as de Organillo", "Trilla"ande "Im�genes Ant�rticas". As with most good examples, others followed quickly. A year later, the "Instituto F�lmico" at the "Pontificia Universidad Cat�lica de Chile", resulting in films like "El cuerpo y la sangre" by Rafael Sanchez. Both Universities were involved in the establihment of the "Cine Club de Vi�a del Mar". mainwhile, in the mainstream, Un chileno en Espa�a" and "M�s all� de Pipilco of Jose Bohr were published. But the artistic and personal renovation in the Chilean cinematographic atmosphere advanced in an inevitable form. A new generation of ready film directors replaced the positions of the old establishment. In 1967, a new name emerged, Alvaro Covacevich, an architect who brought stories to the screen previously discarded for any production.

An example is "Morir un poco", about the life of those who survived in extreme poverty. This motion picture, in spite of its social and political challenging content attracted nearly two hundred thousand people to the exhibition screens. This film is considered a major landmark for many later works. Covacevich, most significant films are "La revoluci�n de las flores", "El di�logo de Am�rica" and "El gran desaf�o". That same year, 1967, another name appeared in the scene, accompanied by great commotion. Patricio Kaulen, premiered "Largo Viaje", a film that dealt with the experiences around the death of a small boy. The film enjoyed a warm welcome on parts of the public. In addition to this period of renovation, in 1967 a new attempt of aid to the Chilean cinematographic production on behalf of the goverment toke place, a law was confirmed stipulated that part of the film earnings would be given back to its producers. This law, next to other similar measures, caused a Renaissance of the activity during the period of ten years the law stayed in use. Films like "Ay�deme Usted Compadre" by German Becker, attrackted 370 thousand spectators. On the other hand, some films like "Tres tristes tigres", by film director Raul Ruiz, only 17 thousand people visited. The critics consider without any doubt this last production of better quality. This fact is even more remarkable, because Ruiz is considered to be the best Chilean film director today.


In 1969, another controversy became public, focussed around "Caliche Sangriento" by Helvio Soto. The Council of Cinematographic Qualification, the censorship institute of that time considered the film to be offensive towards Chilean history. The film narrated the events surrounding the war of the Pacific, of 1879, focussing attention on the economic interests that triggered it. Soto's vision was considered too defiant from the official (State) version. In spite of this, the public appreciated the film with a total of 115 thousand spectators. The film was also aired in Europe.

This fact closes the decade of the 60, with a production of five films a year. Other direcors from this period are Aldo Francia, Chalres Elsesser, Hern�n Correa, Humberto Rios and Diego Santill�n. A good example of the social issues filmed during these years is Enough Praying (Ya Basta Con Rezar, 1973) directed by Aldo Francia. The story dramatizes the moral dilemmas of a young priest, protrayed by Marcello Romo. His congregation contains wealthy, upper-class members, as well as some of the poorest Chileans. The disparity in their lives leads him to question the ethics of the status quo.

Earlier, in 1970, Miguel Littin directs one of the key films in national cinematographic production: "El Chacal de Nahueltoro". The Jackal of Nahueltoro is a documentary-style recreation of a horrific event in Chilean history: A farm laborer murders his common-law wife and her four children while in a drunken stupor. Director Miguel Littin provides a moving portrayal of the lives of Chile's poorest citizens. Released during a time of intense debate over the poor, it became the most widely seen film in the history of Chilean cinema - the director even prepared inexpensive 16mm prints for distribution to Chilean jails.


At the beginning of the sixties the first initiatives emerge to stop the fastness of commercial cinema. With the founding, in 1961, of the "Departamento de Cine Experimental" at the University of Chile, new talent arose in Chile, producing and directing films like "Mimbre", "D�as de Organillo", "Trilla"ande "Im�genes Ant�rticas". As with most good examples, others followed quickly. A year later, the "Instituto F�lmico" at the "Pontificia Universidad Cat�lica de Chile", resulting in films like "El cuerpo y la sangre" by Rafael Sanchez. Both Universities were involved in the establihment of the "Cine Club de Vi�a del Mar". mainwhile, in the mainstream, Un chileno en Espa�a" and "M�s all� de Pipilco of Jose Bohr were published. But the artistic and personal renovation in the Chilean cinematographic atmosphere advanced in an inevitable form. A new generation of ready film directors replaced the positions of the old establishment. In 1967, a new name emerged, Alvaro Covacevich, an architect who brought stories to the screen previously discarded for any production.

An example is "Morir un poco", about the life of those who survived in extreme poverty. This motion picture, in spite of its social and political challenging content attracted nearly two hundred thousand people to the exhibition screens. This film is considered a major landmark for many later works. Covacevich, most significant films are "La revoluci�n de las flores", "El di�logo de Am�rica" and "El gran desaf�o". That same year, 1967, another name appeared in the scene, accompanied by great commotion. Patricio Kaulen, premiered "Largo Viaje", a film that dealt with the experiences around the death of a small boy. The film enjoyed a warm welcome on parts of the public. In addition to this period of renovation, in 1967 a new attempt of aid to the Chilean cinematographic production on behalf of the goverment toke place, a law was confirmed stipulated that part of the film earnings would be given back to its producers. This law, next to other similar measures, caused a Renaissance of the activity during the period of ten years the law stayed in use. Films like "Ay�deme Usted Compadre" by German Becker, attrackted 370 thousand spectators. On the other hand, some films like "Tres tristes tigres", by film director Raul Ruiz, only 17 thousand people visited. The critics consider without any doubt this last production of better quality. This fact is even more remarkable, because Ruiz is considered to be the best Chilean film director today.

Cinema links from CHILE