A tango singer has been invited to a remote city for a celebration. He finds himself ...展开in a repressive almost paranoid world immediately after getting off the train when he is stopped by military police who submit him to quick, brusque inquiry and search him. While trying to find the sponsors of the concert he is to perform he meets a gruff, garrulous boxer in a restaurant whose crudeness draws too much attention, a hobo whose expressions of political paranoia invites even more problems, and the promoter of the celebration, whose aim is not at all clear to the apolitical singer. The film is full of a uneasy kind of foreboding. The characters are a mixture of caricature and a dramatist subterfuge. It's a rich, surprisingly comic political drama with deeply satirical [even slapstick] overtones. At one climatic scene, an event staged by the town's oligarchs to promote a young army boxer, all of the musicians quickly draw out automatic weapons when the big goon of a boxer is outraged at the statements made by the oldier. It's dark scenes like this one that give the film its sinister, interesting punch.
Lautaro Murúa was one of the best actors in the Argentinean cinema. He was born in Chile and he resided in Argentina at the beginning of the fifties. He participated of the called New Wave of the '60 acting in movies of Leopoldo Torre Nilsson, Rodolfo Khun, Manuel Antín, David José Khon and Leonardo Favio. He was also devoted to direct movies of social topics: Shunko, Alias Gardelito and The Raulito, among others. He left to live to Spain for political reasons in the seventies, and then he returned to Argentina to film several movies until sickness set in and he died in Spain when he worked in that country.