By Julio María Sanguinetti
Hubo un Uruguay del optimismo. Fue el Uruguay de Maracaná. Ese Uruguay tuvo un líder político, Luis Batlle Berres. Creció desde una radio y l. a. lucha política callejera. Defendió los angeles República Española, se abanderó por los Aliados contra el nazismo, lideró en Sudamérica los angeles causa del Estado de Israel, intentó acordar con Perón y terminó enfrentado por defender l. a. libertad de expresión de sus adversarios, fue a Estados Unidos y a Europa a sostener nuestro derecho a industrializar materias primas, batalló contra los proteccionismos de los grandes países y sostuvo sin claudicaciones los angeles libertad política. Continuador de l. a. construcción del Uruguay moderno iniciado por José Batlle y Ordóñez, por reformista luchó contra los conservadores, por demócrata contra los revolucionarios, por fanático de los angeles libertad contra los marxistas y populistas. Hoy, a 50 años de su muerte, sin pasiones, se le puede observar como los angeles figura más importante de l. a. segunda mitad del siglo XX, cuyo ejemplo y obra perduran en lo mejor del Uruguay.
Este libro es más que una biografía. Es los angeles historia de un país y su gente. Es los angeles pintura de un Uruguay al que debemos recurrir para entender el presente e iluminar el futuro.
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Extra info for Luis Batlle Berres. El Uruguay del optimismo
My episode was titled ‘‘The Child’’ and revolved around a youngster in some compromising situations. It was revealed at the end of the story that my character was not a child but a midget.
Even as a child, I could sense the haunting tone that the sounds evoked in the stillness as our characters continued the frightening and lonely journey, not knowing where we were going, drifting along the gray river with the eerie notes of the crazed preacher echoing through the darkness. I learned that attention to style and tone was elemental to the creation of a film. Stanley Cortez was the talented and brilliant cinematographer. In one of the scenes toward the end of the movie, John and Pearl hide in a hayloft.
She persevered in a tough business, and to quote her, ‘‘I think the things that are necessary in my profession are these: taste, talent and tenacity. ’’ In my opinion, she certainly did, and it was an honor to work with her and soak up her talent and graciousness. The Night of the Hunter was cinematically years ahead and was built on a German expressionistic mode in black and white with stylized dialogue, odd camera angles, and dark shadows. It was not well received, and Charles Laughton became so disturbed over the reviews that he vowed never to direct another film.
Luis Batlle Berres. El Uruguay del optimismo by Julio María Sanguinetti