Ulises Dumont
| Ulises Dumont | |
|---|---|
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| Born |
April 7, 1937 Buenos Aires, Argentina |
| Died | November 29, 2008 (aged 71) Buenos Aires |
Ulises Dumont (April 7, 1937 – November 29, 2008) was a prolific Argentine film actor, credited with over 80 appearances in film and countless others in theatre and television from 1964 until his death in 2008.
Born in 1937 in Buenos Aires, Dumont first worked in Bunge y Born, Argentina's largest grain wholesaler and one of the principal grain conglomerates in the World. Later that year (1956), he made his first appearance on the stage, developing an affinity for the art that, for economic reasons, he postponed pursuing for several more years. After a modest career in sales, Dumont was given his first film role, a bit part in a 1964 comedy. The otherwise forgettable experience opened doors for him in Buenos Aires' vibrant theatre scene, and he returned to film only in 1971. Eschewing classical theatre, he contributed mostly to locally-written productions, soon becoming a fixture in works by noted Argentine dramatists such as Villanueva Cosse, Carlos Gorostiza and Griselda Gambaro. Receiving his first starring film role in Sergio Renán's 1976 film adaptation of an Haroldo Conti play, Crecer de golpe ("Maturing Suddenly") secured Dumont's reputation in Argentine drama. He was offered numerous leading theatre roles in 1977, the most memorable of which were probably Carlos Gorostiza's El puente ("The Bridge") and what would become his signature role, that of a crusty, ravenous Italian-Argentine grandmother in Roberto Cossa's La nona.
The following year, Dumont lent his talent to a young, hitherto unknown Argentine director, Adolfo Aristarain. The 1978 thriller, La Parte del león ("The Lion's Share") began a successful string of similar collaborations between the two and an actor already well-established as a leading man since the 1960s, Federico Luppi. The three collaborated similarly in the muck-raking Tiempo de revancha ("Time for Revenge," 1981) and the thriller Últimos días de la víctima ("The Victim's Last Days," 1982). True to Dumont's understated style, the three acclaimed and commercially successful films criticized the pravailing climate of fear (during a regime in which doing so was often perilous) with metaphor and veiled references to current events.
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