TERESA: LA MALDAD NO TIENE CASTIGO culminated
"Teresa" in Mexico, a story that can still go via America Television and is a production bien realizada, pero que deja más sinsabores que elogíos, sobretodo en sus capítulos finales. Lima, 06 Marzo 2011, (Por: Richard Manrique Torralva / El Informante Perú).- Observando el final de "
Teresa " recordamos 1978 cuando todo el Perú estaba pendiente del final de "Viviana", porque había interés en saber con quién finalmente se quedaba la protagonista, si con Jorge Armando (Héctor Bonilla) o con el cándido de Julio Montesinos (Juan Ferrara), mientras en México el productor Valentín Pimstein decidió complacer al público y optó "lo que la mayoría quería", that "Viviana" run with "Julio" on one end driest ever seen (remember that the injured have been persistent rumors that it was the recordings of his later chapters).
Anyway, it all came back to us, seeing the end of "
Teresa", culminating as its evil, in simplistic as irregular and is that even that had a cast a script first and immortal. That was useless because this version may have pleased many, but ultimately leaves more troubles than praise.
indeed had great expectations for this new version of "
Teresa "and the original 1958 version is part of the history of telenovelas in his argument, intrigue and memorable performances from his cast that despite the years spent to immortality. One sees again the film was made and some scenes from the original telenovela and is captivated by the performance of its cast and the story itself where greed and selfishness appeared reincarnated in one woman, Maricruz Olivier. He was a melodrama that made mourn and suffering to our grandmothers and fathers who could not conceive so much selfishness and ambition in a woman who uses three schemes to seduce men. A story as credible and original could hardly be argued that the copied story, as such, would succumb in an age like ours.
Well, came to an end this new version of "
Teresa," a story not quite accepted more than anything for the small contribution narrative gave this new version is far from the original story that was accepted by the cast that was good and because, ultimately, the central thought of the story always elicit interest and stories like this are made, they are far from representing his original screenplay. HISTORY
Teresa Chavez (great Angelique Boyer) is a beautiful and intelligent young man desperately seeking to leave the grinding poverty of the neighborhood where he lives. Despite being beautiful and having the support and love she receives from her parents she resented living the life he leads. He lives in a poor neighborhood and is extremely poor. No overlap with anyone in that vicinity, who are considered inferior to it. Just feels a special affection for her godmother Juana (Cynthia Klitbo impeccable) and her younger sister Rosa (Jessica Segura). The death of his sister, Teresa very hurt because of this misfortune, lack of money. That is why he plans to use her beauty as a way to enter that world luxury to which both want to join. Even the fact of having Mariano boyfriend (Aaron Diaz), a poor boy in the neighborhood who loves her, make Teresa change its thinking and its ambitious and interested.
Teresa attends a school of wealthy people where scholarship. There she meets Paul (Alejandro Nones), a rich young man and very popular among all students. Teresa, seeing in him his great opportunity to enter the rich world of your dreams, broke with Mariano and his charms, conquers Paulo immediately, but always hiding his humble origins. Paulo proposes marriage, but discovers the deception, he breaks the engagement, but he intends to follow Teresa next to him as her lover. Teresa refuse, so he does boyfriend Aida (great Margarita Magaña), another high school student, a beautiful but selfish and superficial.
Paulo and humiliate Aida Teresa, publicly displaying their poverty and their lies, so she decides to get revenge and swears he will never be trampled, get what you want, no matter how or at what cost. Teresa befriends her teacher, Arturo de la Barrera, (as always efficient, Sebastián Rulli), a respected lawyer who agrees to pay his career. She works subtly to conquer. However, when her friend Aurora (Ana Brenda Contreras well), is in love with Marian she died of jealousy, back with him. But when he saw Mariano be long in a career and money, finally decides to stay with Arthur, then lied saying that he is very unhappy next to his parents, Armando and Refuge (Silvia Mariscal, Juan Carlos Colombo). That's why Luisa (Fernanda Castillo), Arturo's sister, sympathizes with her and takes her to live in his house. Teresa finally there mad love for Arthur.
However, the ambition is stronger and in a struggle between his feelings and his uncontrollable greed for money, Teresa to see how Arthur is running out of money, pretending love for Fernando (Daniel Arenas) a feeling that all lights, seems to feel; but Oriana (impeccable Raquel Olmedo), the mother of Fernando, are adamantly opposed and is determined to do whatever it takes to separate them, even take his fortune to his son. However, to Teresa nothing is impossible and that his ambition is boundless.
LUCKY LITTLE HISTORY WITH CHANGES "Teresa " like its plot, had everything to become a future classic. A large cast that, as a whole, not at odds, but mostly a story that has lost so many versions occur because the plot and the development of his plot to nothing looks out of date. Careerism, greed and selfishness are always attractive and never look "old fashioned" because it is always present everywhere in the world. It is not the case, for example, "Simply Maria
" or "The right to be born" in need of some "makeup" to modernize the plot and accommodate to our reality.
With "Teresa
" does not happen. Sure, as long as they understand and interpret the message in this story. We say this by observing the end result of this release, the "modernized" and with that much realism and remove the script.
"Teresa
"is a pure melodrama. The style of classic Mexican films" When the kids leave "or" We the poor "and even the same classic telenovela" The right of birth. "Producer José Alberto Castro was already producing achieved a very good telenovela "Rubi" (Televisa-2003) that has nothing to envy to its original version for more than what the discussion is "Ruby" is better, or Fanny Cano and Barbara Mori, will lead to hours and hours debate, because both look perfect and well, and this is crucial, the script remained the central message. The ambition of the main protagonist in the luxury and power.
But here
Castro and its influence writers I ever saw in the Mexican creative. Take the thrust of the message, all for thinking that the story for being too old (this goes back 50 years), you must change the context. Too numerous to mention how many stories that were changed for this illogical concept. "Simply Maria", for example, the brilliant Peruvian version played by Saby Kamalich, seen everywhere in the world and changed the style of a French melodrama, played by Victoria Ruffo but was sold to several countries, never reached the peaks popularity was as if the Peruvian version, considered among the top three all-time telenovelas.
Another example, "El derecho de nacer" never disappoint, even though it generates thousands of discussions about it, with its copy made in Mexico, Venezuela, Puerto Rico and even the radio version made in the fifties in Peru. Until Mexico, with the arrival of the new century, made one of the most disastrous on record versions starring Kate del Castillo and Saul Lizaso, which aimed to give you insight into so-called "modern" to the story and eventually convert a sender failure.
BETWEEN BEING AND NOT But one thing at the beginning, "Teresa
"has little flexibility in his narrative and not need it because the story revolves around its central character and therefore the choice should be correct. And Angelique Boyer auque overreact at times, not at odds. The problem is that the script obviously important details of this melodrama as the continued disregard for their loved ones. The parents of "Teresa" were subjected to the most treacherous suffer slights that made viewers. Just look at the physical abuse of Maricruz Olivier to feel anger towards her and sadness for those parents who tried to give everything, but that was not enough. In this new version, only that contempt is in the opening credits, when the star snubs a kiss from his father for being full of grease car, but then nothing more.
although the script now obvious that detail, it is also fair to say that the parents of "Teresa" lack such expression and stage size should be as poor as characters suffered. Armando and Refuge (Silvia Mariscal, Juan Carlos Colombo) fail to convince us of their suffering and this implies that the story does not have a solid drama that reinforces the evils of the protagonist. It would be impossible not to remember Mrs. Sara Garcia suffered impeccably acted as melodrama and ended up convincing Silvia Derbez in "Mama Bell" (Televisa-1978).
But here the "suffering" fathers contribute little to the realism of the plot. More Juan Carlos Colombo as Armando. The time of his death, a good supply of the script that was marred by simplistic at the scene lacked the dramatic power that was printed on a key moment in history. A made us remember the time when Rafael del Junco lost speech and was punished for all the evil he did and that has been made in all versions of "The right of birth." How far it is, now, remember the radio version was done in the fifties in Peru of the Cuban history, in which the Peruvian actor, Carlos Egoaguirre portrayed Rafael del Junco. Resulted from such an impact, so far remember, as a group of exalted drama fans waited for him at the door of the station to hit for being "bad."
is that at that time, no video or other technologies, the scenes they imagined they heard the performances were memorable enough to be felt and that for the public to identify with the plot. The same thing happened with the arrival of the soaps. But here, nothing that parents perceive "Teresa
" where the melodrama is absent and thus the lack of interest begins to increase.
Eso sí, nuestros elogios para Margarita Magaña, Cynthia Klitbo, Ana Brenda Contreras Raquel Olmedo y Manuel Landeta. Todos impecables en cada uno de sus personajes de esta producción que dista en mucho a su versión original.
Aquí observamos a una "
Teresa " más moderna y por ende más maquiavélica y astuta. Castro coloca la muerte de la hermanita de "Teresa" como el "pretexto ideal" que encuentra la protagonista por intentar lo que sea por escalar posiciones, salir de la pobreza y lograr el ansiado triunfo.
Lo malo radica en que su astucia luce muy simplista, producto del poco sentido que tienen sus maldades. Nuestra "
Teresa "is not only modern and ambitious social climber but is bad and even found guilty of murder and death. Quite the contrary to its original version where the character played by Maricruz Olivier justified their actions in an act of mere social aspiration , his ambition led her to plan their evil, full of realism and tension.
Castro made no mistake with Angelique Boyer. The actress stands out in several scenes and has a good acting hand in hand with Oriana (Raquel Olmedo) and Aida (Margarita Magaña). And the best thing about this version is in its dialogues and clashes between "Teresa" and their victims.
But just as has good moments, Boyer also has scenes that are too over-acted, which is why we say that the actress does his role although not up to Maricruz Olivier. At times, this new version, Amparo Rivelles reminds us in "La Leona" (Mexican tele-1961) where the actress showed acting chops at all times when your character changed attitude. She was seduced, abandoned and even vindictive. This is what you lack in Boyer, his youth and therefore their lack of experience in many places makes you feel her overacting. Moreover, the fact of rising leading men kiss their eyes to the ceiling of your home, as expressing indifference, says nothing and no is compared to the lifting of the left eyebrow of Olivier that it was memorable.
The dialogues are detailed and concise. It's a soap opera where emphasis must be placed in parliament and not the action scenes. Of these there are few detailed and only available in its final chapters.
is worth noting the very good sets and the image of the neighborhood of "Teresa" as thoroughly and effectively, which saw not long ago. The cast of tenants from the Mexican neighborhood meets your work and allows the showcasing of the Boyer is more than shocking, in many passages.
One of the weaknesses of this version is the producer's discretion try to avoid comparisons with "Ruby." Here Castro avoids colliding with some moments of the story by Yolanda Vargas Dulche as the scene where Maria Teresa married and when our hero takes the groom to Luisa. It was clear that if the plot had changed, the last thing you should do the producers and their writers is that Luisita would be standing at the altar or Arturo Mariano tell that Teresa was his and that they be roped into shock. The writers avoid extreme situations to not copy anything already shown in "Ruby" and so the story halfway through, it feels stagnant. Along with the character played by Aaron Mariano Diaz leaves much to be desired. Perhaps it is a key player wanted in Mexico, with an enviable physical and waste popularity, but here looks very stiff. Aldo Monti impossible to forget the suffering of flawless and tormented love with Teresa. Diaz will be the profile of the character, but his performance has limitations and is not understood lexicon instead of catching suffered supporters, desperate. We remember memorable characters in the neighborhood, which charmed viewers around the world. Braulio Castillo impeccable as Professor Stephen "Just Mary" (Panamericana Television Peru-1969), Daniel Lugo as "lettuce" in "call me Sparrow" (Panamericana Television Peru. 1974). More in our time, John Ferrara and Dr. Julio Montesinos Viviana (Televisa-1978) and Guillermo Dávila as "Nacho" the eternal love in "Ligia Elena" (Venevision, 1982). Here Díaz is up for the role and the producer as Most Mexican colleagues have respect for the name instead of the original stories and change the direction of the plot and make it "Teresa" forget your love (the key to the original story) and fell in love with her second romance, Arturo de la Barrera played by Sebastian Rulli, a beloved actor and more widely accepted than Diaz. With what the story gets so crazy and confusing. This is when things are blurred in the novel. There are no sense of an original melodrama whose plot was justified by the realism and the sense of the script. Everything looks superficial and the concept of the ambitious and careerist woman is left out when the running of the chapters, evil disfigures the character. To top Angelique is forced to put the sharp dark color to your eyebrows for their wickedness is terrible and that "I get scared, Teresa
" ringing in the minds of viewers with such meager results. Moreover, the time of "To be or not to be" repeating "
Teresa" in the middle of the stairs of his mansion, in its final chapters, in which the lights become faint, giving an air of evil demon, goes unnoticed by the above.
That's why, again, the comparison arises because Maricruz Olivier and the director, Rafael Banquells, no gadgets needed to feel ambition, as by lifting his left eyebrow and sticking to a script that portrayed ambition in all its glory, Maricruz said it all and gave meaning to the dialogue and scenes more impact.
FINAL FOR THE FLOOR
In any case, "Teresa
" had followers but not unconditional. Producer knows how to run the story based on the ratings blockbuster. As detailed earlier in this article, the end reminded us of the disastrous culmination of "Viviana" (Televisa, 1978), when all of Mexico and some countries like Peru, they wanted our beloved Lucia Mendez will stay with Julio Montesinos and not to Jorge Armando who considered an opportunist and careerist. The truth is that Valentine Pimstein gave the desired end and although it was a fiasco. His argument, its great cast, a story (then) daring and Lucia's natural beauty were enough to make it a classic. Here
Castro seeks to differentiate from "Ruby" that we see it constantly, whether by cable, internet or replacement is done on television around the world (America in Peru recovers TV these days), and therefore his script almost know by heart, that's why that this "detail" must show no differences and similarities.
Too bad they did not notice that in the history of Dulche Vargas, ambition becomes evil. While in "Teresa " selfishness leads to greed and destroy the characters surrounding the main character. Something that is nowhere near in this release.
Castro sees its History is successful and offers a romantic plot and leaves only a minimum area with the desire to see the punishment that never gets Angelique Boyer as if it had Maricruz Olivier. Lonely, sad and unloved. Castro finally tells us that "love triumphs and forgives." Is certainly an end to the audience, daring because it generates controversy. Castro knows that is pulled by the hair, so it simply presents the final image for gratification of his thousands of followers. Noting that
sentimental closing, we thought we saw like the first version of Ruby (Televisa-1968) that Castro would put a voice in this telenovela as he left the voice of Yolanda Vargas Dulche saying: "To you woman who has followed step by step development of this story, which she will serve as an example to keep your physical beauty fades your moral beauty ... "
Too bad it did not. Finally," Teresa "pleased their followers, but it was a production that leaves traces. Perhaps the disappointing ending to a small group of viewers is the lack of that final bold deserved a production of this type. It is actually to the alternate endings that were made on this production seem to be better prepared to that end which is far from cloying the profile of the player who needed the "finishing touch" that never came.
However, "Teresa " ended up being a much higher production starred Salma Hayek, but little compared to its original version. Believing that the old version was too outdated eventually bury one of the most compelling stories and solvents we have observed, something that can hardly be boring and outdated because greed, malice, hatred and selfishness exist today, in 20 years or in the next century.
(*) rmanrique@elinformanteperu.com
www.elinformanteperu.com