Tin Tan: An Icon of Mexican Cinema

The golden 'Pachuco' of Mexican cinema
Germán Genaro Cipriano Gómez Valdés Castillo, also known as 'La Chiva', 'Topillo Tapas', or 'Tin Tan', began his professional trajectory as a radio announcer at XEJ in Ciudad Juárez. This radio network was owned by Don Pedro Meneses, who founded the first TV channel outside of Mexico City. He then joined Paco Miller's theater company, where he perfected his quirky character and met with actor, Marcelo Chávez, who would later on become his sidekick. In November 1943, in Esperanza Iris Theater, the public discovered a new comedian who would make them laugh as much as the icon Cantinflas.

Salvador Novo wrote in January 14th, 1944, "I haven't seen Tin Tan in person, I just listened to one of his radio shows, and I believe much of his success is due to his understanding of psychology. He is able to tap into a timely formula of anti 'yankee' sentiments." His costumes and 'pachuco' (slang word for ugly) manners, along with his unique vocabulary, would come to define Tin Tan's personality. Alongside his sidekick and buddy Marcelo, Tin Tan would work long seasons in theaters (the Alameda, the Follies Bergère, the Patio), cabarets, and radio shows.

"This one! This dude! Are you lying? Do you have a torch, a matchstick? You know, I come from Los...see? now this is real style, it's near Los Angeles, I come from Sanda Mónaca (...) well you don't look as if you where that is." [sic]

In 1943, Germán Valdés, Tin Tan had his first film debut in a supporting role in Spring Hotel directed by René Cardona. In 1945, under the direction of Humberto Gómez Landero, he starred as the main lead in The Disobedient Son, which would catapult his career in the film industry. He would also star in There Are Dead That Rise (1946), The Music Within Us (1946),The Lost Child (1947), and Musician, Poet, and Madman (1947).

"Dusted, Deteriorated, Discouraged" [sic]. See Tin Tan and his Trompabulary.

"I'm a kid, I'm 28 years old. In the neighborhood the girls call me "The Greek" because of my profile. I'm very elegant. The boys call me Tin Tan, because for me, everything is music, only just don't say it's only music, I'm a poet and a musician as well, which is different." [sic]

He improvised constantly, and this meant Tin Tan needed the space "to do and undo inside and outside of the set", freedoms Gilberto Martínez Solares, renowned director and producer, was happy to provide. The first fruit of this collaboration was Tender Pumpkins (1948) of which critic Monsiváis said, "Tin Tan sings, dances the mambo, the cha-cha-chá, he shouts, throws things around, serenades, and he fails as if it were a natural part of life, he mobilizes his surroundings with ease." He then went on to star in I am a Charro of levita (1949), Don't Defend me, Compadre (1949), The King of the Neighborhood (1949), The Skunk's Brand (1950), Simbad the Dizzy (1950) and other 30 more films.

The Cheating, Ugly, Mole: "it looks to me as if they want to make you a mole." The nickname Germán Valdés used before Tin Tan was 'Topillo Tapas'. See Tin Tan and his Trompabulary.

Tin Tan interpreted a wide array of characters that would often contradict each other, the gentleman, the thief, the vagabond, the waiter, the wrestler, the fencer, the bullfighter, the hunter, and many more. He learned to cry, laugh, dance, and even jump a three meter fence. He went from comedy and musicals, to melodrama and action films.

"If to eat, I need to break my back, better put jobs in prison and I rest and not eat." Quote from the film, Simbad the Dizzy.

In every single film that Tin Tan featured in, his body language and his unique gestures made him stand out. His 'pachuco' style became an emblem, with his baggy trousers and jacket with large shoulder pads, wide brim hat adorned with a feather, golden watch tied to his shaggy trousers, colorful shoes, wide suspenders, a boutonniere, and trimmed mustache.

His unique fashion wasn't the only peculiar aspect of Tin Tan's character, he would combine several languages, Spanish, English, and Caló. "He has a way of speaking that is free from conventions, both offensive and hilarious. Tin Tan doesn't leave a single word in peace, he twists and transforms them (...) he 'jazzes', and improvises. He pours dynamite all over rigid language norms", Carlos Monsiváis explains.

"Mangazo, let's rattle these frog legs, and go for a ride." [sic]

Tin Tan: "How can I get pumped?"
Marcelo: "You either go out or you get mowed down by the public."
Tin Tan: "Here's how I see it, either the public kills me, or I get mowed down by the bull. So here I go, wish me luck."

"For these maids, I'm difficult to forget."

"Come on, Marcelino, scratch that belly and let's sing with 'inspireichon'."

Germán Valdés created new and original words and expressions that José Andrés Niquet gathered together in his book Tin Tan and His Trompabulary. A few examples are, ¿cómo se ha centrifugado? (how are you feeling) capirucha (capital), carnal (buddy), Chapultetrepo (Chapultepec), chale (that sucks), chanza (opportunity), cuando yo ahueque de aquí (when I leave), durazno (hard), Estates or States (United States), fachada (face), garras (clothes), juega el pollo y se revuelca (I agree), lo que mentolatum en ganancia (whatever I want), me chifla (I love it!), no se escame (don't be scared), no se esponje (don't get angry), teoriqué (I talked), veredas tropicales (you'll see)…

"Esparragosa". Friendly nickname Tin Tan gave to his colleague Vitola, in several of his films. See Tin Tan and his Trompabulary.

Tin Tan as Samson is presented as follows: "I am Chichimeca, from an Indian tribe of the same family as the Olmecs and Chicalangas, relatives of the Tariácuri and the Fernández from Peralvillo."

This irreverent 'Pachuco' didn't have a single solemn bone in his body. "He was among the first to create a fusion of musical genres, he was capable of singing a ranchera and then turn it into a rumba-flamenco, and he could do anything to the songs", Astrid Hadad explained in an interview with José Andrés Niquet. Furthermore, he was a great dancer who made of the rhythms of the era his own, the cha-cha-chá, the danzón, the rumba, the mambo, and even rock and roll.

"I feel the oh-how-you-want-this pouring out." [sic]

Many of his films evoke iconic characters such as The Cinderello (1951), The Count of Monte Cristo (1954), What Happened to Samson (1955), and Tintanson Cruzoe (1965). In his titles he would also refer to popular characters such as 'Chucho the Broken One' in the film Patched Up Chucho (1952) and popular idioms as well.

During the sixties, the Golden Era of Mexican cinema began to fade, and this had repercussions in his film career. He concluded his career playing secondary roles in movies like Pigweed (1970), Chanoc in the Claws of the Beast (1970), Chanoc vs. The Tiger and Vampire (1971), Chanoc and the Tarantulas(1971), The Yellow Mafia(1972) and Night of Death (1972), a year before his death, 29th June, 1973.

The figure of Tin Tan has transcended time and space, becoming the archetype of the 'Pachuco', as well as the figure of the "first 21st Century Mexican" according to critic Carlos Monsiváis, when referring to a trans-cultured Mexican figure. "Man always seeks his origins", says Nobel Laureate, Octavio Paz, and Tin Tan explored parody to the nth degree, for him, "nothing was serious, only death, and that only happened on the film next door" (Octavio Paz).