Biography of Alberto Closas:- Attracted very young by the world, after beginning the Spanish Civil War marched to South America, where, after brief stays in several countries, ended up fixing its residence in Buenos Aires, city in which it undertook its work like actor in The bosom of the company of Margarita Xirgu, after studying Dramatic Art. The small roles gave way to longer ones that consolidated their trajectory until arriving at first actor. This baggage encouraged him to form his own company, with which he toured various countries of the continent.
Biography of Alberto Closas
- Born:- 30 October 1921, Barcelona, Spain
- Died:- 19 September 1994, Madrid, Spain
- Parents:- Rafael Closas Cendre
- Spouse:- Amelia Bence (m. 1950–1955), Lía Centeno Padilla (m. ?–1994)
- Children:- Alberto Closas
The directors of Argentine cinema of the early forties soon fixed themselves in him and were entrusted to him papers of diverse magnitude. Closas quickly adapted to the new medium and confirmed his good work in a series of melodramas directed, among others, by Mario Soficci ( The Prodigal, 1945, The Cat, 1947, Land of Fire, 1948). In La prodiglia she debuted as protagonist with Eva Duarte, and the fact that she became Eva Perón months later, determined the kidnapping of the film, which was never released, and a bright future immediately for the actor who, In compensation, counted on the support of the Peronist government and carried out several successful films.
In 1949 Argentine film writers recognized his work by awarding him the Best Actor award for his role in Danza de fuego (1949) by Daniel Tinayre. For a few years he continued to work under the orders of Carlos Schliepper ( The Honor of Men, 1944, My Woman is Mad, 1952) or Tulio Demicheli ( Vivir un momento, 1951, Charlestón, 1959).
Already famous, in 1954 the Francoist authorities allowed his return to Spain and entered the Spanish cinema through the big door, with Death of a Cyclist (1955), Juan Antonio Bardem, a film committed and controversial by its subject (adultery) , Where the actor interpreted a university professor immersed in a sea of social and moral doubts. Although this role marked a promising moment in his artistic career, Spanish cinema was only able to offer characters that developed in the line of popular comedy, which dominated its production from that date.
He worked with Luis César Amadori ( A Little Girl from Valladolid , 1958; A Great Lady , 1959) next to Amalía Gadé and Zully Moreno, respectively; Also with José Antonio Nieves Conde ( We are all necessary , 1956, which won him the prize for Best Actor in the Festival of San Sebastian, The Devil also cries, 1963); And with Julio Coll ( District 5 , 1957, prize of the Circle of Writers Cinematográficos, the gold suit , 1959, The widows , 1966); Works that are an example of which the social reintegration, the thriller or the world of the bulls can serve as a frame for a good interpretation, confirming the versatility of the actor.
However, the sixties would be marked by Fernando Palacios’ The Great Family (1962), a film that sought to mirror a social reality through the portrait of a large family, in which Closas played the head of the family. The film marked a milestone at the time and the participation of Amparo Soler Leal (the mother), José Isbert (the grandfather) and José Luis López Vázquez (the uncle) confirmed the will of entertainment for the whole family. The success took to the realization of a new delivery of the same director, Fernando Palacios, and scriptwriter, Pedro Masó, with the title The family and one more (1965).
Mario Camus had him for two work transition as a woman dies (1964) and The visit did not touch the bell (1965) and Pedro Masó called him to experience prenuptial (1972), the third family delivers family well, thank you (1979) and The Divorce that Comes (1980), stories that serve as examples of the winds that ran in the Spanish cinema of late Franco and early transition.
While his life moved between Madrid and Buenos Aires, scarcely a couple of films attest to the interpretive level and artistic quality of Closas, although in smaller roles: Esquilache (1988), Josefina Molina, and El maestro de fencing (1992) ), By Pedro Olea. The theater occupied a good part of his professional and business time (in Buenos Aires he managed the Avenida theater) and kept him active until the last days of his life; Also participated in diverse series of television.