User Reviews

This film is an excellent critic about singers coming to Buenos Aires from other Argentinian provinces in the sixties. They used to go up in the ranking for a couple of long plays, and then fall down again. Some of them kept selling their music for years. As was the case of Palito Ortega, who apparently got mad with this film producers after watching the film. The storyline depicts Pajarito Gómez's career as he is invented, sold and used by record companies. The songs and lyrics for the sound track were made by the film writers themselves. Another piece of art parodying the actual music those artists published by the time. The plot is perfect. Actors performances are very good too. If you like acid humour and you don't like poorly talented artists, this is a must see.

Pajarito Gómez was created in 1965 by Rodolfo Kuhn, Carlos del Peral and Paco Urondo. Kuhn was representative of the so-called "New Wave of Argentine Cinema". Although, this expression betrays the spirit of his film, it is a sort of "new wave" parody. Carlos del Peral, a humorist, had founded the magazine Tía Vicenta with Landrú. Paco Urondo was a poet. Then he became guerrilla (as Rodolfo Walsh and Hector Germán Oesterheld) and disappeared during the military dictatorship.

Pajarito (Héctor Pellegrini) is a humble boy whose life is conceived, narrated, and managed by a record label. Beyond the parodied stick, the authors point to mass media. To support this good boy, good son and good citizen, who doesn't mess with politics and sings songs about love and optimism, it showcases the work of entrepreneurs, consultants, journalists and television presenters. "True Argentines are all optimistic", he says. Behind the phenomenon, a dark, decadent man with nothing to say, a bride for magazines, a mother ignored and music plugging it all.