Two to love each other: a success, the whims of a counterfigure and the blows that the villain of the story received in the street
two to love each other was the fiction that Channel 13 broadcast after Rolando Rivas taxi driver, in 1974. Also starring Claudio Garcia Satur, the production that carried the signature of Alberto Migre a captive audience and very good rating numbers were assured that accompanied them every Tuesday at 10 p.m.
The soap opera narrated the love story between Professor Claudio Valle (García Satur) and Mariné Jara Guerrico (Thelma Biral) who, however, have to overcome many obstacles in order to be happy. The most powerful of those obstacles was Betiana (Marta Albertini), her evil niece who does everything possible to separate them. The cast was completed with Antonio Grimau, Dorita Ferreyro, Susy Kent, Alicia Zanca, María Esther Leguizamón, María Elena Sagrera and Dorys del Valle. The narrator was Julio César Barton, and the direction was by Roberto Dennis.
“I handled myself according to the book and I never had to make suggestions to Migré; my character was so beautiful that there was no reason. It was such a resounding success that it was broadcast for the second time in 1976; the street would stop to watch the soap opera and if there were social gatherings on Tuesdays, they would go to another day”, tells Thelma Biral to THE NATION.
“It was something very special because I had to partner for the first time with an actor like García Satur, a good partner, friendly, talented. That program had many additions: one wonderful thing was the music, another the impressive direction of Denis. Everyone commented on how aesthetic the program was. And with a wonderful cast of actors, a book by the great Migré, a team of wonderful workers”, remarks the actress about her experience with the telenovela. “I remember that the villain that Marta played was called Betiana and from the groups they yelled ‘Bestiana’ at her,” she later says between laughs, as a sign of the passion she generated in the public. two to love each other.
Marta Albertini She remembers and smiles: “It was a wonderful time for me, Betiana Dávila Jara Guerrico. It meant a big change in my acting and personal life. It was practically my debut on Argentine television, on that brilliant Channel 13, with an overflowing cast of talent. It was unexpected, surprising. I did not know Migré, he had recently come from Uruguay and he saw me in a participation in a soap opera in which I played Alicia Bruzzo’s cousin, no less. I couldn’t believe that Migré himself was looking for me.”
“Betiana was a rebellious, capricious student with a good financial position who lived with her aunt because she had lost her mother when she was very young,” recalls Albertini. “Her aunt was Thelma, magnificent, talented and a great companion. And García Satur came from the great success of Roland Rivas and they all adored him; It was a shock for me, I was out of reality, happy”.
Shortly after beginning the novel, the evil of the character of Albertini was in crescendo, so much so that the public began to hate her. “There was a very strong scene with Thelma where I yell at her ‘hysterical old maid’ and she slaps me, and everyone in the studio applauded. From then on, the public began to recognize me on the street, and that was not in my dreams because Uruguay is another world. Once I was in the hall of the then Grand Splendid cinema and a lady ran at full speed, straight towards me and said: ‘Stupid, you don’t realize that Claudio doesn’t love you.’ I was frozen and I couldn’t answer him. I understand them because they loved Satur and my character was sinister. Another time, one of them pulled my hair to see if it was mine, because it was very long, but in reality they were doing it to attack me.”, assures Albertini.
“Many letters arrived at the channel and those who loved me asked me for financial help, because they believed that the fantastic house that was seen was mine. I don’t think the public confuses anything today, but at that time the world was different. There was a girl who was waiting for me at the door of the channel and asked me to take her to live with me”, she says wistfully. “Satur and Biral helped me a lot in the acting part and even gave me life advice. He told me not to listen to anyone because they were going to drive me crazy, to concentrate on my work and not to be affected by anything. And Thelma was very patient with me, especially in the first scenes because I was shaking. Afterwards he already enjoyed the wickedness. I suffered because it’s not easy for people to hate you, but I also received a lot of love because of that character. I migrated changed the course of my life because I planned to return to Uruguay, I missed my family, my world, but Argentina caught me and I’m still here”.
A particularity of Albertini’s character was that he smoked. “I never smoked. But I incorporated him into the character because Migré said it gave him a different attitude. The director yelled at me, ‘when are you going to learn to smoke, it shows that you don’t know’. I always rejected tobacco, until today,” he adds.
Dorys del Valle he carefully guards many memories of that time, some of which he shares with THE NATION: “I was very pampered in this profession and Migré fulfilled all my wishes. For example, I asked him to make me a song, because it occurred to me, just capricious. And when he left to kill Marta Albertini, he fled in a convertible car along 9 de Julio and the song ‘Tomorrow, what will happen to my morning when I wake up again…’ by Cris Manzano played. He was wearing a hat, a scarf, and he was driving that fancy car. Of course, later I woke up in jail, because I was in jail: since Marta’s character was very bad with Satur’s and I loved him even though we were step-siblings, I killed her in the last chapter.
The actress recalls that her character did not go unnoticed among the followers of two to love each other. “At first Satur and I were brothers, and then it occurred to Migré that we were stepbrothers and I had to fall in love with him; It was a silent love, because I didn’t say anything. I migrated told me: ‘If I don’t kill you, I’ll screw up your career’”, says Del Valle, between laughs.
“He used to go to his country house a lot, my son loved an orange bread that he made, but at work he was very rigid, he wrote the dialogue for each character and also the staging, in detail, the shots, everything. You couldn’t improvise or even change a comma. It was so clear that he wrote on the stencil. Because before they wrote by hand, they corrected and then that was passed by hand on the stencil, but Migré did not correct”, explains Del Valle.
“I have beautiful memories of that moment. With Satur I had already done Roland Rivas and we got along very well. And the director Beto Denis put a very directed light on my eyes, which came out clear. Because I have brown eyes but with green streaks, and since my whole family had light eyes, Beto told me: ‘This scene is for nona’. They gave me all the tastes”, concludes Dorys.
Antonio Grimau dive into the past, choose some memories and conclude that in two to love each other they first saw him as a possible leading man. “It was an important soap opera in my career because I hadn’t done anything with Alberto Migré, and it was a program that was very popular. I had the enormous pleasure of sharing the fictional couple with Fernanda Mistral, an actress that I greatly admire, and they had an interesting chemistry. It was a beautiful love story with a woman older than my character, who was a scoundrel who, a little, lived it. It was a parallel story to the central one and it was very rich. My character was the son of the caretakers of this woman’s villa and that’s how the relationship was. It was a soap opera that was seen in prime time at night, something that I had hardly done and, furthermore, I was finally working with Migré, which at that time was the ambition of every actor”.
Moved, the actor continues: “For the first time I realized that a certain profile as a leading man appeared in my possibilities as an actor, who would later be defined as such. At that time I believed that the role of leading man was a sort of separate job for which I was not trained, because for me leading men had to measure 1.80, always be pretty, presentable and I did not feel too comfortable with that. He considered that the gallant of a romantic novel had to be a beautiful man like Alain Delon or Rodolfo Bebán. I felt that I did not give that profile but they called me and I did not hesitate to assume that character. In short, physical complexes: my nose did not seem appropriate, for example. Things that sound stupid now, but at the time were worrying for someone who assumed that role for the first time.
“Proposals for notes began to appear in entertainment magazines emphasizing the attractiveness that my character provoked in the female audience. For the first time he came into contact with popularity, to such an extent that the intervention in two to love each other It earned me the proposal to partner with Soledad Silveyra the following year, because Satur had given up partnering with her, I don’t really know the reasons. That’s how we did your rebellious tenderness. So it was the springboard to star in a novel by Alberto Migré”, Grimau assumes, in dialogue with THE NATION.
The novel aired on Tuesdays from 10:00 p.m. to 11:30 p.m. and was recorded in three parts: a full day of rehearsal and staging, another of recording on the floor, and one more outdoors. “Everything was very professional, we had the lyrics very well known and there was not much leisure time”, they all agree.