CDMX, Mexico.-They say that during the time that this soap operahehe Cuban streets were almost empty and in the living rooms of the homes there were several generations sitting in front of the small screen. In fact, this panorama does not remain in a popular fable, the dramatized one came to have audience records for its time.
In 1997, under the direction of Xiomara Blanco, Tierra Brava premiered, which until today is one of the soap operas most remembered by the Cuban public. Thanks to the multiple broadcasts that it has had since then, Cubans of different ages know this drama of disputes over land and inheritance between families, which was accompanied by more than one love triangle and forbidden relationships.
Among the most memorable images of the space, it is worth mentioning its allegorical presentation of cockfighting against a background of fire, masterfully accompanied by the music of Frank Fernández, and also the setting and costumes that set the plot in the 50s.
The dramatized, which was based on the radio soap opera Medialuna by Dora Alonso, had a luxury cast that immortalized each leading role: Nacho Capitán (Fernando Hechavarría) together with Verena (Jacqueline Arenal) and Lala Contreras (Luisa María Jiménez) played the main roles of this impossible love story due to old family quarrels.
On the other hand, Rogelio Blaín, arrogant and tough, gave life in this soap opera to the character for whom he is possibly most remembered: the wealthy landowner Lucio Contreras. How can we forget that temperamental cry that resounded on the screens of every Cuban home: Justaaaaaaaa?
And that, the name of Justa became the second of the great Alina Rodríguez, who would later add a third, that of the teacher Carmela in the Ernesto Daranas film, “Conducta”.
Along with Alina, Enrique Molina also shone for his masterful performance, who gave life to Silvestre Cañizo, a Media Luna worker who was brutally beaten to the point of leaving him paralyzed in part of his body.
From this dramatization, it stands out that all the characters, those who might seem “villains” and the good ones, were interpreted with all possible nuances and psychological individualities.
Paradoxically, this telenovela, which was made in the middle of the “special period”, remains among the highest quality productions made in Cuba.
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