Ulises Dumont
Ulises Dumont's movies.
Buenos Aires, April 7, 1937 – Buenos Aires, November 29, 2008.
It was, despite its low profile, acid humor and its rejection of all forms of exhibitionism (in short: a rara avis of the show), one of the most famous faces of cinema. Also, the most lovable: partly because their characters used to be a representation of the average Argentine. "That garbage everyman I do," he joked. Ulises Dumont, who also shone in theater and, in a lesser degree in television, died yesterday at age 71 in Buenos Aires, from heart problems and was suffering. He worked from mid-60s, in more than 80 films: a high percentage, iconic for Argentine cinema. For example, The lion (1978), Time for Revenge (1981) and Last Days of the Victim (1982), all three of Adolfo Aristarain, who managed filtering system cuestionadoras allegories in full-year dictatorship. National History was present in some of his other famous works, as will be no more sorrow or forgetfulness (Hector Olivera, 1983), Los chicos de la guerra (Bebe Kamin, 1984), Winter Quarters (Lautaro Murua, 1984) o censor (Eduardo Calcagno, 1995).
Buenos Aires, April 7, 1937 – Buenos Aires, November 29, 2008.
It was, despite its low profile, acid humor and its rejection of all forms of exhibitionism (in short: a rara avis of the show), one of the most famous faces of cinema. Also, the most lovable: partly because their characters used to be a representation of the average Argentine. "That garbage everyman I do," he joked. Ulises Dumont, who also shone in theater and, in a lesser degree in television, died yesterday at age 71 in Buenos Aires, from heart problems and was suffering. He worked from mid-60s, in more than 80 films: a high percentage, iconic for Argentine cinema. For example, The lion (1978), Time for Revenge (1981) and Last Days of the Victim (1982), all three of Adolfo Aristarain, who managed filtering system cuestionadoras allegories in full-year dictatorship. National History was present in some of his other famous works, as will be no more sorrow or forgetfulness (Hector Olivera, 1983), Los chicos de la guerra (Bebe Kamin, 1984), Winter Quarters (Lautaro Murua, 1984) o censor (Eduardo Calcagno, 1995).
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