Chicho: the television was you

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He did not need the grim reaper to come to rescue him from oblivion or to be well spoken of. Anyone who loves the medium knew and recognized that Chicho Ibáñez Serrador came to home television to turn it around like a sock with quality proposals that the audience had never seen before. Hence, from its inception, we opened our eyes like plates before any of its programs. Ibáñez Serrador was an innovator in the noblest sense of the word: nothing in his career was artificial, he did not seek to epatar anyone with programs or series, before they were called differently, more gimmicky and vacuous than consistent. It was a three-track circus without giving it away. The Uruguayan reached TVE in 1963 to turn it upside down. First adapting classics of universal literature for "Study 3". Quickly, he realized that what worked best was the theme of terror. He, avid reader of Edgar Allan Poe and Ray Bradbury, among many others, created out of nowhere "Historias para no dormir" (1966), a breath of fresh air -but sickly and suffocating because of its theme- that caused the insomnia of millions of spectators with their stories of terror with Victorian air. To start altering the television ecosystem, he started shooting with film cameras. One of the most remembered episodes is "The asphalt". In it he counted as protagonist with his most faithful ally, his father, Narciso Ibáñez Menta, Joaquín Dicenta and a very young Fiorella Faltoyano. In it, a gentleman with a cast leg walks through the big city on a hot summer day. The sun melts the pavement to the point where it sticks to an asphalt spot, without being able to detach itself and without anyone helping. In this chapter he delved into the psychological and everyday terror, in a situation that could happen to any spectator. It could be said that it was the advance of "La cabina", by Antonio Mercero. Ibáñez Serrador contributed a lot to many women raising the covers of the bed to see if there was someone underneath, to lock the door. In the case of many children, as was my case, the tuning already put us on alert. "Stories to not sleep" was a sophisticated diversion.

In 1967 he changed his register to offer "Historias de la frivolidad", a masterpiece of television in Spain. Mocked censorship to narrate, from the irony, the history of eroticism. Still recorded in the memory are the sets, with drawings by Antonio Mingote, the song of head and the interpretations of Irene Gutiérrez Caba, Rafaela Aparicio, Lola Gaos, Pilar Múñoz and Margot Cottens. Piece of distribution, gentlemen!

Creator who did not fall for the rings to tackle different genres, in 1972 he revolutionized the contests with "Un, dos, tres … respond again". How not to remember in these moments of Ruperta, Mr. Cicuta, the presenters Kiko Ledgard, Mayra Gómez Kemp, Jordi Estadella and Luis Roderas, and the hostesses with huge glasses among which were Victoria Abril, Paula Vázquez and Nina? And that final prize between a car or an apartment in Torrevieja that at that time was the most of the most? The program discovered many comedians: Raúl Sender, Bigote Arrocet, Manolo Royo, Fedra Lorente, Ángel Garó, Beatriz Carvajal, Arévalo, Juanito Navarro, Pepe Viyuela and many others. It lasted until the many but it was a dynamic contest in which culture mattered a lot. Between 1972 and 2004, 411 deliveries were made.

With that privileged intelligence and his innate respect for the viewer, in 1990 he decided that the audience deserved a sex program that was not sensationalist. That year premiere "Let's talk about sex." Presented by Elena Ochoa, now the wife of architect Norman Foster and director of "Ivorypress", the program became a social phenomenon because condoms, masturbation or sexual fantasies were rigorously discussed. The spectators, still prudish and timid, or so it seemed, entered the lazy laugh before subjects that had never spoken in public. In 1983 another contest about the animal world arrived: "Waku Waku", who triumphed as almost everything he did. It was the last of his great programs. The television did not retire him, it was he who did it. Demanding, perfectionist, they still resound on the sets of Prado del Rey their screams when a shot had not gone well or an actor left the mark. He was a small dictator in his work, but nobody complained; on the contrary, they admired him because his level of demand was directly proportional to his human quality when he calmed down.

He won many national and international awards, which managed to give visibility to TVE in the days of the dictatorship. But the amount of awards does not replace the best prize he had: the loyalty and affection of the audience before a television giant who trusted his intelligence, something that is lacking in these times.

. (tagsToTranslate) television

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