The style of the film was an important turning point in Argentine cinema, since until then the films mainly focused on the working classes and the world of tango.[1] As noted by researcher Alejandro Kelly Hopfenblatt:
From the point of view of the parents who see their children grow up and leave home to create their own life stories, an ode to work and family as fundamental supports in times of modernization of society was proposed. The main novelty introduced to the national cinematography was the appearance of a new universe represented from the protagonism of the bourgeoisie, looking for empathy and identification of new spectators.[1]
Release and reception
The film premiered at the Cine Monumental in Buenos Aires on 19 July 1939.[2] It received universal acclaim from critics, who at the time claimed that national cinema should broaden the subjects it represented in order to attract audiences outside of the working class.[1]
In 1977, during the last civil–military dictatorship, the government banned the film from being broadcast on television.[3] According to Domingo Di Núbila, this was probably due to a scene in which the Arturo García Buhr's character proudly defends his adherence to socialism.[4]