Tomo y obligo carlos gardel biography

Leaning close to his friend with a swell of emotion and a wag of the thumb, he asks: “You know the words to this song?” And as the small band plays in the dingy saloon, Carlos Gardel cracks a sad smile, settles in, and sings himself into eternity.

Penned for the 1931 film Las luces de Buenos Aires (dir.

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Adelqui Migliar), “Tomo y obligo” encapsulates the tango in a nutshell. As a vehicle for the singer to express his predicament, while at the same time revealing his true nature despite himself, it is the ultimate piece of theater.

And yet it couldn’t be simpler. “Men ain’t s’posed to cry,” he thunders—and cries.

Manuel Romero had a fine sense of staging already, and drew on earlier tangos for leverage (his form here is similar to “Adiós, muchachos” and “No le digas que la quiero”).

For his part, Gardel wrote the music for this number (drawing on his earlier treatment of “Mano a mano”), starting a compositional trend he would continue in his subsequent films. A