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Elena Lucena
Elena Lucena
Elena Lucena
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María Elena Lucena Arcuri (25 September 1914 – 7 October 2015) was an Argentine film actress of the Golden Age of Argentine cinema. She began her career in radio in the 1930s and reached her greatest success with the role of "Chimbela", which was later depicted in film, theater and television. Her extensive film career includes approximately 50 films, including notable performances in Chimbela (1939) and Una noche cualquiera (1951). During the 1940s, she participated in films with comedians like Pepe Arias, Pepe Iglesias "El Zorro", Niní Gambier [es], Mirtha Legrand and Carlos Estrada. Her most acclaimed film work occurred in Elvira Fernández, vendedora de tienda (1942) by Manuel Romero, Cinco besos by Luis Saslavsky and La Rubia Mireya for which she received the 1948 Best Comedy Actress Award from the Argentine Film Critics Association.

Key Information

She also performed as a dancer and, beginning in 1960, did several musical comedies. On stage she replaced Libertad Lamarque in Hello, Dolly! and she portrayed the widow of Larraín de Valenzuela in the Chilean comedy La pérgola de las flores, which was later made into a movie. Beginning in the late 1960s, she participated in several television roles. Her later performances include the series 099 Central (2002) and the 2010 film Brother and Sister for which she was nominated as Best Supporting Actress and a role in the 2012 TV movie El Tabarís, lleno de estrellas. She had one of the longest careers of Argentine actresses and was one of the last survivors of Argentine cinema from the 1930s. She retired in 2012.

Biography

[edit]

Lucena was born on 25 September 1914 in Buenos Aires, Argentina. She was working as a seamstress, getting paid eighty cents per dozen shirts made, when she made a radio test to sing tangos. Her mother was against it, but it paid 60 pesos per month. She took the contract at Radio Belgrano.[1] Beginning as a singer in 1937, she soon moved from singing into acting, reading tragic parts on Radio Belgrano, where it was noted that she had an expressive face. She moved to the National Radio as part of an acting troupe "Estampas porteñas" and soon after, caught the attention of Arsenio Mármol. He created a character called "Chimbela" for her which she performed on radio and later on film, theater and television. Almost immediately the role brought success and she began touring the country,[2] and appeared on both the Teatro Palmolive and Radio Cine Lux.[3]

Her film debut was in La que no perdonó (1938), under the direction of José A. Ferreyra with Elsa O'Connor, Mario Danesi and José Olarra.[4] In 1939 her signature character was taken to film in a screenplay written by Antonio Botta and directed by Ferreyra and Lucena was the star of Chimbela, although it was only her second film. The story is of a young girl who is supporting her family and falls in love with a man who is running from the police for a murder he did not commit. The supporting cast included Eloy Álvarez, Floren Delbene, Mary Dormal, Nuri Montsé and others.[5] She also made her next two films El ángel de trapo (1940) and Pájaros sin nido (1940) with Ferreyra.[6] Some of her most memorable roles were: Ven mi corazón te llama (1942);[7] Elvira Fernández, vendedora de tiendas (1942) directed by Manuel Romero with Paulina Singerman;[8] Cinco besos (1945) in which she worked with Mirtha Legrand;[9] La Rubia Mireya (1948) by Manuel Romero with Mecha Ortiz[4] for which she won Best Comic Actress from the Argentine Film Critics Association;[10] Una noche cualquiera (1951);[7] El Calavera (1954) by Carlos Borcosque; and La murga (1963) by René Mugica.[4]

In addition to film, Lucena worked in many of the theaters along Calle Corrientes and traveled with tours both throughout Argentina and through Brazil, Spain and Uruguay. Participating in both classic and modern works, some of her most memorable performances were in Cuando el gato no está, Cuando las mujeres dicen sí, Cuanta Milonga, Cuatro escalones abajo, El enfermo imaginario, Juanita la popular, Madame 13, Penélope ya no teje, La Pulga en la Oreja, Quien me presta una hija, Valss, Vengo por el aviso, and Una viuda difícil among others.[7] During Libertad Lamarque's run of Hello Dolly!, produced by Luis Sandrini and Daniel Tinayre, Lucena was called in to replace Lamarque.[11] She also performed in the Chilean musical La pérgola de las flores by Isidora Aguirre, which made a successful run throughout Latin America.[12]

From the 1960s Lucena began working in television. Some of her most noted performances included Piel Naranja (1975), Duro como la piedra, frágil como el cristal (1985–1986), Como pan caliente (1996), 099 Central (2002)[7] and El Tabarís, lleno de estrellas (2012).[13] She died on 7 October 2015 at the age of 101.[14]

Awards and nominations

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Filmography

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Films

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Television

[edit]
  • Domingos de teatro cómico (1969)[17]
  • Viernes de Pacheco (1971) Episode:"Giuanín, Rey de la pizza" ... (Rosaura)[18]
  • Aplausos (1972) ... (Margo)[19]
  • Todo es amor (1972–1973)[20]
  • El patio de la Morocha (1973) ... (Reneé)[21]
  • Piel de pueblo (1973) ... (Rosita's mother)[22]
  • El chupete (1973–1976)[23]
  • Piel naranja (1975) ... (Angélica)[24]
  • Herencia de amor (1981) ... (Jorgelina)[25]
  • Aprender a vivir (1981–1982) ... (Zuzú)[26]
  • El ciclo de Guillermo Bredeston y Nora Cárpena (1982) Episode: "La viuda es sueño" ... (Julia)[27]
  • Duro como la roca, frágil como el cristal (1985–1986) ... (Tona)[28]
  • Alta Comedia (1994)[29]
  • Como pan caliente (1996)[4]
  • 099 Central (2002)[4]
  • El Tabarís, lleno de estrellas (2012)[13]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Elena Lucena

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Elena Lucena was an Argentine actress and singer renowned for her long and versatile career in radio, film, theater, and television, most notably her iconic portrayal of the character Chimbela, which she performed across multiple media and which defined her popularity during the Golden Age of Argentine cinema. Born María Elena Lucena on September 25, 1914, in the Boedo neighborhood of Buenos Aires, she came from a humble family and began her artistic career at age 16 after passing a radio audition, initially working as a tango singer and actress in programs such as La culpa la tiene el fútbol and later with the Estampas porteñas group. Her breakthrough came in the late 1930s on Radio Belgrano, where director Arsenio Mármol created the cheerful and innocent character Chimbela specifically for her after noticing her humor during broadcasts; this role brought immediate success and expanded into film, theater, and television. She debuted in cinema around 1938–1939 with titles such as La que no perdonó and Chimbela, followed by prominent roles in films including Elvira Fernández, vendedora de tienda, Cinco besos, Napoleón, and La Rubia Mireya. Lucena enjoyed a prolific stage career, replacing Libertad Lamarque in Hello, Dolly! and appearing in numerous productions such as La pérgola de las flores and La pulga en la oreja, while also touring internationally and throughout Argentina with her signature character. In later decades she contributed to television series and made her final screen appearance at age 95 in the film Dos hermanos. She received several prestigious awards recognizing her lifetime achievements, including the Podestá Award, María Guerrero Award, and Cóndor de Plata. On a personal level, she married actor Julio Bianquet at a young age and had a daughter, Hebe, but was abandoned shortly afterward, an experience that profoundly affected her. Lucena lived her final years in Buenos Aires and passed away on October 7, 2015, at the age of 101.

Early life

Childhood and family background

María Elena Lucena nació el 25 de septiembre de 1914 en el barrio de Boedo, Buenos Aires, hija de José Lucena y Amelia Arcuri. Su familia administraba un taller de sastrería donde, desde joven, ella colaboró en las tareas diarias junto a sus padres. Tras pasar sus primeros años en Boedo, la familia se trasladó a Villa Lugano, manteniendo siempre el sustento a través del oficio de sastre. Este entorno de clase trabajadora modesta definió su infancia y adolescencia, sin que existieran antecedentes artísticos en su núcleo familiar.

Entry into radio and early artistic work

Elena Lucena comenzó su carrera artística a los 16 años, alrededor de 1930, tras superar una audición radial mientras aún trabajaba como costurera en el taller familiar. Realizó presentaciones como cantante de tango y actriz en programas radiales tempranos, incluyendo su participación en la serie cómica La culpa la tiene el fútbol, donde colaboró con Blanca del Prado y Félix Mutarelli en episodios con libretos de Manuel Meaños que presentaban sketches humorísticos de costumbres cotidianas. En 1937, trabajó como cancionista de tango en Radio Nacional. En 1939, se incorporó al grupo Estampas porteñas. Posteriormente pasó a Radio Belgrano, donde inicialmente interpretó roles trágicos acorde a su apariencia dramática y continuó su labor como cantante antes de inclinarse por la comedia. El personaje de Chimbela fue creado durante ensayos en Radio Belgrano.

Radio career

Early radio roles and tango singing

Elena Lucena began her radio career in the early 1930s as a tango singer on Radio Nacional, overcoming her mother's initial opposition to an artistic path by convincing her to allow the pursuit. She performed tangos as part of an acting ensemble at the station, marking her entry into professional broadcasting as a cancionista de tango. During the 1930s, Lucena participated in the comic radio series La culpa la tiene el fútbol, a costumbrista program featuring episodic humorous sketches with scripts by Manuel Meaños, where she appeared alongside Blanca del Prado and Félix Mutarelli. She later joined Radio Belgrano, where she was recruited to play tragic female roles or damas trágicas, and she focused on reading intense tragic parts in those early assignments. These initial efforts in tango singing and acting roles on both stations preceded the development of the Chimbela character at Radio Belgrano.

Creation and success of the Chimbela character

The Chimbela character was created by director Arsenio Mármol specifically for Elena Lucena during rehearsals at Radio Belgrano, where he observed her natural comedic talent and sense of humor as she entertained colleagues with jokes and antics during commercial breaks and between dramatic recordings. Lucena recalled the moment in her own words: “Arsenio Mármol, el director, me observó y decidió crear el personaje que marcó mi carrera y me llevó al cine y al teatro”. Tailored to her strengths, Chimbela was conceived as a cheerful, uninhibited, and popular porteña woman, shifting Lucena from the tragic roles she had initially performed to comedy. Introduced on radio in the late 1930s, Chimbela rapidly became Lucena's signature role and brought her major popularity in the medium. The character's immediate success led to her securing prominent spots on major programs such as Teatro Palmolive del aire and Radio Cine Lux, while also enabling extensive tours across Argentina. Although Chimbela was later adapted to film, theater, and television, its creation and greatest impact originated in her radio work at Radio Belgrano.

Film career

Debut and early films (1938–1940)

Elena Lucena made her film debut in the drama La que no perdonó (1938), directed by José Agustín Ferreyra. She appeared in a supporting role as Cecilia in a cast that included Elsa O'Connor, Mario Danesi, and José Olarra. The film was released on September 14, 1938, and marked her entry into Argentine cinema following her radio success. The following year, she achieved her first starring role in Chimbela (1939), also directed by Ferreyra, adapting her famous radio character to film. She starred as Chimbela, a humble young woman who protects a fugitive, opposite Floren Delbene and Eloy Álvarez. The film premiered on August 30, 1939. Lucena continued her collaboration with Ferreyra in 1940 with a principal role in El ángel de trapo (1940), released on April 25, 1940.

Peak years in Argentine Golden Age cinema (1940s–1950s)

Lucena reached the height of her film career during the 1940s and 1950s, the peak of the Argentine Golden Age cinema, establishing herself as a leading comic actress in popular productions. Her work included collaborations with performers such as Pepe Arias, Pepe Iglesias, Niní Gambier, and Mirtha Legrand. Standout films included Elvira Fernández, vendedora de tienda (1942), directed by Manuel Romero, Ven mi corazón te llama (1942), Cinco besos (1945), directed by Luis Saslavsky, and La rubia Mireya (1948). For her role in La rubia Mireya, she received the Best Comic Actress award from the Asociación de Cronistas Cinematográficos de la Argentina in 1948. She also appeared in other notable titles such as La calle Corrientes (1943), Valentina (1950), Una noche cualquiera (1951), and Estrellas de Buenos Aires (1956). These showcased her versatility in comedic roles.

Later film appearances (1960s–2010)

Lucena's film appearances became less frequent after the 1950s. In the 1960s, she appeared in La murga (1963), directed by René Mugica. She had occasional roles in films including El galleguito de la cara sucia (1966), La casa de Madame Lulú (1968), Joven viuda y estanciera (1970), La casa del amor (1973), Millonarios a la fuerza (1979), Frutilla (1980), and Una viuda descocada (1980). She returned in Luna de octubre (2001). Her final role was at age 95 in Dos hermanos (2010), directed by Daniel Burman, where she played the dual roles of the mother and her twin sister tía Lala. For this performance, she was nominated for Best Supporting Actress at the 59th Cóndor de Plata Awards. Film databases list her in approximately 27–30 feature films, though some sources estimate higher including broader appearances.

Theater career

Major stage productions and musicals

Elena Lucena maintained a prominent presence in Argentine theater, starring in numerous comedies and musical productions, particularly during the 1960s and 1970s, where she often portrayed frivolous and snobbish characters. Her platinum blonde hair and extravagant hairstyles frequently led to comparisons with Zsa Zsa Gabor. One of her most notable stage achievements was replacing Libertad Lamarque in the lead role of Dolly Levi in the musical Hello, Dolly! in 1967, a position she held for three months. In 1964–1965, she played the antagonistic widow Larraín de Valenzuela (also known as Laura Larraín) in the Chilean musical comedy La pérgola de las flores by Isidora Aguirre, with music by Francisco Flores del Campo, directed by Cecilio Madanes at Teatro Caminito in La Boca, Buenos Aires; the production later moved indoors to Teatro Avenida due to weather. Her other major productions included Carnival in 1962, Juanita, la popular in 1966 where she portrayed the title character, Molière's El enfermo imaginario in 1973 at the Teatro Municipal General San Martín, and Georges Feydeau's La pulga en la oreja directed by China Zorrilla at the Teatro Nacional Cervantes. These roles underscored her skill in comedic and musical theater, drawing on the timing and expressiveness she had honed earlier in her career.

Tours, own company, and international performances

Lucena formed her own theater company, Compañía Juventud, in collaboration with actors Adalberto Campos and Audón López. The company, which began in the 1930s, achieved a long and significant trajectory in Argentine theater, building on her earlier success with short tours in the character of Chimbela. With Compañía Juventud, Lucena undertook extensive international tours, performing in major theaters across Uruguay, Spain, Brazil, Mexico, Cuba, and Venezuela. Her work abroad extended her reach beyond Argentina and the interior provinces, establishing her presence in key Latin American and European markets. One notable success during this period came with the musical comedy La pérgola de las flores, which enjoyed acclaim during its Latin American tour.

Television career

Television roles and late-career appearances

Lucena transitioned to television in the 1970s, appearing in numerous Argentine telenovelas and series during that decade and the following one. She had a recurring role as Angélica in Piel naranja (1975), appearing in 32 episodes of the Alberto Migré-scripted production. Other notable credits from this period include extended participations in Todo es amor (1972) with 97 episodes and Piel de pueblo (1973) with 116 episodes. In the 1980s, she continued her television work with roles in series such as Herencia de amor (1981), where she portrayed Jorgelina in 17 episodes, and Duro como la roca... frágil como el cristal (1985), playing Tona in 39 episodes. These appearances reflected her steady presence in Argentine television drama during the post-Golden Age era. In her late career, Lucena returned to the screen at age 88 for a supporting role in the Pol-ka Producciones police series 099 Central (2002), portraying Elba in 8 episodes. She later appeared in the 2012 television movie El Tabarís, lleno de estrellas, marking one of her final on-screen performances at nearly 98 years old. Her television work extended her legacy from radio and film into the medium's telenovela and series formats through the early 21st century.

Personal life

Marriage, family, and personal relationships

Elena Lucena married actor Julio Bianquet at a young age, and at 19 she gave birth to their only daughter, Hebe, in 1934. The marriage ended that same year when Bianquet abandoned her seven months after Hebe's birth, leaving Lucena to raise her daughter alone amid societal prejudices that made single motherhood particularly difficult. Lucena later affectionately described her daughter as "una hija de oro" (a golden daughter). Her grandson, Juan Francisco Fernando Rodríguez Bianquet, was a guitarist in the band Duendes. She also had a great-grandson named Tiziano. In an interview around her 100th birthday, Lucena reflected on her family with gratitude, saying God had given her "a golden daughter, a grandson Juan Francisco, and Tiziano my great-grandson."

Beliefs, residences, and later personal details

Elena Lucena described herself as Catholic while also being influenced by the teachings of Hindu guru Paramahansa Yogananda. In her later years, she resided in the Colegiales neighborhood of Buenos Aires. She continued working into advanced age.

Death and legacy

Death and funeral

Elena Lucena died on October 7, 2015, in Buenos Aires at the age of 101 due to age-related decompensation. Her remains were veiled in a funeral home in the Palermo neighborhood of Buenos Aires. She was buried in the Panteón de la Asociación Argentina de Actores at the Cementerio de la Chacarita.

Awards, honors, and recognition

Elena Lucena received several notable awards and honors during her career and in recognition of her lifetime contributions to Argentine performing arts. In 1948, she won the Best Comic Actress award from the Asociación de Cronistas Cinematográficos de la Argentina for her performance in La rubia Mireya. In 2006, she was awarded the Premio Cóndor de Plata a la Trayectoria (lifetime achievement award) by the same organization. That same year, she was declared Ciudadana Ilustre de la Ciudad Autónoma de Buenos Aires by the city's legislature through Ley 2161, sanctioned on November 23, 2006, in honor of her career as an actress and singer. Lucena also received the Premio Podestá, Premio Raíces, and a diploma from the Argentine Senate. In 2011, she was nominated for Best Supporting Actress at the Premios Cóndor de Plata for her role in Dos hermanos.

Cultural impact and legacy

Elena Lucena is remembered as an icon of the Golden Age of Argentine cinema and radio, her exceptionally long career spanning from her radio debut in the 1930s as a tango singer and actress to her final on-screen role in 2010. She was regarded as one of the last living legends of that foundational era in national entertainment, her longevity providing a direct link to its origins while she remained active across radio, film, theater, and television well into advanced age. Her enduring fame is inextricably tied to her signature character Chimbela, created for her in Radio Belgrano by director Arsenio Mármol who recognized her natural comedic talent; the role, portraying a cheerful, innocent, and bubbly young woman, defined her career and extended across multiple media. Chimbela originated on radio, where it gained widespread popularity, before transitioning to the 1939 film of the same name and numerous theatrical productions, including tours with her own company throughout Argentina's provinces and several Latin American countries. The character's lasting appeal, still fondly recalled by audiences and colleagues, overshadowed other aspects of her work and cemented her place in Argentine popular culture as a beloved emblem of humor and vitality from the golden era. Lucena made her final on-screen appearance in 2010 and died at the age of 101 in 2015, an event described as marking the departure of a full century of history in national radio, theater, and cinema. Her legacy endures through the cultural footprint of Chimbela and her role as a bridge between generations of Argentine performers, with her contributions honored beyond awards as a profound influence on the entertainment industry.

References

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  2. https://www.infobae.com/sociedad/personajes/2025/10/07/la-vida-de-la-actriz-elena-lucena-sus-roces-con-evita-y-el-desengano-amoroso-que-nunca-llego-a-superar/
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  7. https://cinenacional.com/pelicula/chimbela
  8. https://cinenacional.com/pelicula/el-angel-de-trapo
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  10. https://cinenacional.com/persona/elena-lucena
  11. https://noticine.com/iberoamerica/36-iberoamerica/14731-qla-mirada-invisibleq-sorprendio-al-encabezar-las-nominaciones-a-los-condor-de-plata.html
  12. https://es-us.vida-estilo.yahoo.com/elena-lucena-sue%C3%B1o-cumplido-personaje-142658689.html
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  22. https://www.saij.gob.ar/2161-local-ciudad-autonoma-buenos-aires-declaracion-ciudadano-ilustre-lpx0002161-2006-11-23/123456789-0abc-defg-161-2000xvorpyel
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