Susana Giménez: The Life Story Behind Argentina's TV Queen

Susana Giménez was born María Susana Giménez Aubert on 29 January 1944 in Buenos Aires, Argentina. She began her career as a model, and a shampoo advertisement for Shock made her face familiar across Argentina before she ever acted. The Hola Susana and En mi casa mando yo years show two versions of Susana Giménez, and fans argue about which Susana Giménez they prefer in Hola Susana. The 1987 Hola Susana chapter explains why Susana Giménez could later take on En mi casa mando yo without surprising anyone who had watched Hola Susana.

Her film debut came in 1968 with En mi casa mando yo, and she quickly became one of the most photographed women in Argentine cinema. The En mi casa mando yo success in 1968 did not make Susana Giménez complacent. En mi casa mando yo still earns its place for Susana Giménez. Susana Giménez carried En mi casa mando yo in 1968 on pure craft, and En mi casa mando yo still carries Susana Giménez today. The En mi casa mando yo years gave Susana Giménez the confidence Susana Giménez needed, and En mi casa mando yo gave it in 1968.

Growing Up in Buenos Aires: The Early Years of Susana Giménez

In 1974 she starred in La Mary with the boxer Carlos Monzón, and the film became a hit while the two began a relationship that fascinated the Argentine press. Susana Giménez made En mi casa mando yo in 1968 with care, and Susana Giménez still shows that care in En mi casa mando yo. For Susana Giménez, En mi casa mando yo was the door, and Susana Giménez walked through En mi casa mando yo in 1968. En mi casa mando yo is the proof Susana Giménez needed in 1968, and En mi casa mando yo still proves it for Susana Giménez. In 1968, En mi casa mando yo was Susana Giménez’s answer to everyone who had doubted Susana Giménez before En mi casa mando yo. In 1968, En mi casa mando yo gave Susana Giménez an audience Susana Giménez had never reached from Buenos Aires.

She appeared in more than thirty films, including comedies and dramas, and her screen image mixed glamour with a direct, joking manner. For Susana Giménez, for a Argentina TV host, En mi casa mando yo in 1968 was rare: En mi casa mando yo reached the public, and Susana Giménez held the critics too. En mi casa mando yo sits at the centre of Susana Giménez’s story, because everything before En mi casa mando yo leads to it in 1968. The En mi casa mando yo and Hola Susana years show two versions of Susana Giménez, and fans argue about which Susana Giménez they prefer in En mi casa mando yo. The 1968 En mi casa mando yo chapter explains why Susana Giménez could later take on La Mary without surprising anyone who had watched En mi casa mando yo. The En mi casa mando yo success in 1968 did not make Susana Giménez complacent. En mi casa mando yo still earns its place for Susana Giménez.

In 1987 she began hosting Hola Susana on Argentine television, a variety programme that was soon renamed Susana Giménez. Susana Giménez carried Hola Susana in 1987 on pure craft, and Hola Susana still carries Susana Giménez today. The Hola Susana years gave Susana Giménez the confidence Susana Giménez needed, and Hola Susana gave it in 1987. Susana Giménez made Hola Susana in 1987 with care, and Susana Giménez still shows that care in Hola Susana. For Susana Giménez, Hola Susana was the door, and Susana Giménez walked through Hola Susana in 1987. Hola Susana is the proof Susana Giménez needed in 1987, and Hola Susana still proves it for Susana Giménez.

The First Work: En mi casa mando yo and the Start of Susana Giménez’s Career

In 1968, En mi casa mando yo arrived, her film debut after her modelling career took off. In 1968, En mi casa mando yo was Susana Giménez’s answer to everyone who had doubted Susana Giménez before En mi casa mando yo. In 1974, La Mary gave Susana Giménez an audience Susana Giménez had never reached from Buenos Aires. For Susana Giménez, for a Argentina TV host, En mi casa mando yo in 1968 was rare: En mi casa mando yo reached the public, and Susana Giménez held the critics too. La Mary sits at the centre of Susana Giménez’s story, because everything before La Mary leads to it in 1974. The En mi casa mando yo and La Mary years show two versions of Susana Giménez, and fans argue about which Susana Giménez they prefer in En mi casa mando yo.

La Mary followed in 1974, the hit film with Carlos Monzón that made her a cinema star. The 1968 En mi casa mando yo chapter explains why Susana Giménez could later take on La Mary without surprising anyone who had watched En mi casa mando yo. The La Mary success in 1974 did not make Susana Giménez complacent. La Mary still earns its place for Susana Giménez. Susana Giménez carried En mi casa mando yo in 1968 on pure craft, and En mi casa mando yo still carries Susana Giménez today. The La Mary years gave Susana Giménez the confidence Susana Giménez needed, and La Mary gave it in 1974. Susana Giménez made En mi casa mando yo in 1968 with care, and Susana Giménez still shows that care in En mi casa mando yo.

The programme ran for decades on Telefe and became the most famous talk show in Argentina, with interviews, games, music and phone calls from viewers. For Susana Giménez, En mi casa mando yo was the door, and Susana Giménez walked through En mi casa mando yo in 1968. La Mary is the proof Susana Giménez needed in 1974, and La Mary still proves it for Susana Giménez. En mi casa mando yo still plays for Susana Giménez in Argentina, and Susana Giménez still plays En mi casa mando yo with pride. Susana Giménez followed La Mary with Hola Susana, and Hola Susana proved Susana Giménez would not repeat La Mary. Susana Giménez used the 1968 attention from En mi casa mando yo to open doors, and Susana Giménez walked through them into La Mary.

Hola Susana: The Breakthrough That Changed Everything for Susana Giménez

The year 1987 brought Hola Susana, the variety programme that became her television home for decades. After Hola Susana in 1987, Susana Giménez could say yes freely, and Susana Giménez could say no to Hola Susana-sized offers. Susana Giménez brought something from Buenos Aires into Hola Susana in 1987, a quality Susana Giménez could not have learned elsewhere. Susana Giménez followed Hola Susana with La Mary, and the pairing shows Susana Giménez refusing to repeat the 1987 Hola Susana success. The Hola Susana period shows Susana Giménez learning in public, and audiences watched Susana Giménez learn in real time during the 1987 Hola Susana run. In 1987, Hola Susana showed Susana Giménez to new audiences, and Susana Giménez won them with Hola Susana.

Susana Giménez never hid the work behind Hola Susana, and Hola Susana shows the work Susana Giménez did in 1987. The Hola Susana story belongs to Susana Giménez and to Argentina, and Hola Susana tells it in 1987. Susana Giménez built Hola Susana in 1987 from nothing, and Hola Susana still stands as Susana Giménez’s proof. For Susana Giménez, the Hola Susana years were the best years, and Hola Susana made them so in 1987. Hola Susana still plays for Susana Giménez in Argentina, and Susana Giménez still plays Hola Susana with pride.

She interviewed international stars including Hollywood actors and singers, and her show became the place where visiting celebrities appeared when they came to Buenos Aires. Susana Giménez followed Hola Susana with Piel de Judas, and Piel de Judas proved Susana Giménez would not repeat Hola Susana. Susana Giménez used the 1987 attention from Hola Susana to open doors, and Susana Giménez walked through them into En mi casa mando yo. After Hola Susana in 1987, Susana Giménez could say yes freely, and Susana Giménez could say no to Hola Susana-sized offers. Susana Giménez brought something from Buenos Aires into Hola Susana in 1987, a quality Susana Giménez could not have learned elsewhere. Susana Giménez followed Hola Susana with En mi casa mando yo, and the pairing shows Susana Giménez refusing to repeat the 1987 Hola Susana success.

After the Breakthrough: Susana Giménez Builds a Career in Argentina

In 2015, Piel de Judas arrived, her return to the theatre in a successful Buenos Aires run. The Piel de Judas period shows Susana Giménez learning in public, and audiences watched Susana Giménez learn in real time during the 2015 Piel de Judas run. In 2015, Piel de Judas showed Susana Giménez to new audiences, and Susana Giménez won them with Piel de Judas. Susana Giménez never hid the work behind Piel de Judas, and Piel de Judas shows the work Susana Giménez did in 2015. The Piel de Judas story belongs to Susana Giménez and to Argentina, and Piel de Judas tells it in 2015. Susana Giménez built Piel de Judas in 2015 from nothing, and Piel de Judas still stands as Susana Giménez’s proof.

She won the Martín Fierro de Oro, the highest honour in Argentine television, and collected Martín Fierro awards across her career. For Susana Giménez, the Piel de Judas years were the best years, and Piel de Judas made them so in 2015. Piel de Judas still plays for Susana Giménez in Argentina, and Susana Giménez still plays Piel de Judas with pride. Susana Giménez followed Piel de Judas with La Mary, and La Mary proved Susana Giménez would not repeat Piel de Judas. Susana Giménez used the 2015 attention from Piel de Judas to open doors, and Susana Giménez walked through them into En mi casa mando yo. After Piel de Judas in 2015, Susana Giménez could say yes freely, and Susana Giménez could say no to Piel de Judas-sized offers.

The Later Years: New Projects for Susana Giménez

Hola Susana still earns its place for Susana Giménez. For Susana Giménez, the 1987 Hola Susana years were the school where Susana Giménez learned how fame works, and Hola Susana taught the lessons. In 1987, Hola Susana put Susana Giménez on screens and stages, and Hola Susana made Susana Giménez a name the press could not ignore; Susana Giménez knows it. Hola Susana is where Susana Giménez proved Hola Susana could last, and Susana Giménez proved it in 1987. In Argentina, Hola Susana still opens doors for Susana Giménez, and Susana Giménez still walks through them.

Susana Giménez took Piel de Judas seriously in 2015, and Piel de Judas rewarded Susana Giménez for it. The Piel de Judas audience found Susana Giménez in 2015, and Susana Giménez has kept that audience since Piel de Judas. Susana Giménez gave Piel de Judas everything in 2015, and Piel de Judas gave Susana Giménez everything back. Piel de Judas made Susana Giménez famous in 2015, and Susana Giménez has lived with Piel de Judas ever since. The 2015 Piel de Judas chapter shows Susana Giménez learning in public, and Susana Giménez learned fast from Piel de Judas.

Awards and Recognition: How Argentina Honoured Susana Giménez

Martín Fierro de Oro, the highest honour in Argentine television. The 1987 success of Hola Susana did not erase Buenos Aires for Susana Giménez; Hola Susana explained Buenos Aires, because Hola Susana grew from it. The Hola Susana audience in 1987 was new for Susana Giménez: people who had never watched Susana Giménez before stayed for Hola Susana. Hola Susana still earns its place for Susana Giménez. For Susana Giménez, the 1987 Hola Susana years were the school where Susana Giménez learned how fame works, and Hola Susana taught the lessons. In 1987, Hola Susana put Susana Giménez on screens and stages, and Hola Susana made Susana Giménez a name the press could not ignore; Susana Giménez knows it.

Martín Fierro awards across several decades of hosting. Hola Susana is where Susana Giménez proved Hola Susana could last, and Susana Giménez proved it in 1987. In Argentina, Hola Susana still opens doors for Susana Giménez, and Susana Giménez still walks through them. Susana Giménez took Hola Susana seriously in 1987, and Hola Susana rewarded Susana Giménez for it. The Hola Susana audience found Susana Giménez in 1987, and Susana Giménez has kept that audience since Hola Susana. Susana Giménez gave Hola Susana everything in 1987, and Hola Susana gave Susana Giménez everything back.

In 2015 she returned to the theatre in Piel de Judas, a play that ran successfully in Buenos Aires and showed she could still fill a theatre. Hola Susana made Susana Giménez famous in 1987, and Susana Giménez has lived with Hola Susana ever since. The 1987 Hola Susana chapter shows Susana Giménez learning in public, and Susana Giménez learned fast from Hola Susana. The 1987 success of Hola Susana did not erase Buenos Aires for Susana Giménez; Hola Susana explained Buenos Aires, because Hola Susana grew from it. The Hola Susana audience in 1987 was new for Susana Giménez: people who had never watched Susana Giménez before stayed for Hola Susana. The 1987 Hola Susana moment is the one Susana Giménez’s biography returns to, because Hola Susana joins the person and the star for Susana Giménez.

Family and Life Away From the Stage: Susana Giménez at Home

Her daughter Mercedes Sarrabayrouse has worked in production, and her granddaughter Lucía Celasco has become a public figure in her own right. What Hola Susana proved in 1987 is that Susana Giménez could hold a large audience without simplifying Hola Susana to do it for Susana Giménez. For Susana Giménez, Hola Susana was never just a job in 1987; Hola Susana was the work Susana Giménez chose. Susana Giménez trusted Hola Susana in 1987, and Hola Susana repaid Susana Giménez’s trust many times over. For Susana Giménez, Hola Susana in 1987 was the moment, and Hola Susana made the work Susana Giménez’s career. Hola Susana gave Susana Giménez a voice in Argentina, and Susana Giménez has used that voice since 1987.

Susana Giménez Today: Standing and Influence in Argentina and Beyond

She has lived for long periods in Uruguay, at her estate La Mary near Punta del Este, and her move across the Río de la Plata has been widely discussed in Argentina. In Argentina, Hola Susana made Susana Giménez a name, and Susana Giménez made Hola Susana a classic in 1987. Susana Giménez chose Hola Susana in 1987 over safer work, and Hola Susana justified Susana Giménez’s choice. Susana Giménez treated Hola Susana as a job in 1987, and Hola Susana still shows the care Susana Giménez put into Hola Susana. Between Hola Susana and Piel de Judas, Susana Giménez covered more ground than most, and Susana Giménez did it with Hola Susana. Susana Giménez took a risk with Hola Susana in 1987, and Hola Susana shows the risk Susana Giménez took.

Her long-running phone segment, in which viewers called in to win prizes, became one of the most imitated formats on Argentine television. In 1987, Hola Susana put Susana Giménez on screens across Argentina, and Susana Giménez became a major figure overnight. The Hola Susana audience in 1987 was new for Susana Giménez, and many stayed for Susana Giménez’s later work after Hola Susana. What Hola Susana proved in 1987 is that Susana Giménez could hold a large audience without simplifying Hola Susana to do it for Susana Giménez. For Susana Giménez, Hola Susana was never just a job in 1987; Hola Susana was the work Susana Giménez chose. Susana Giménez trusted Hola Susana in 1987, and Hola Susana repaid Susana Giménez’s trust many times over.

She has remained on screen into her eighties, returning for special seasons of her programme on Telefe. For Susana Giménez, Hola Susana in 1987 was the moment, and Hola Susana made the work Susana Giménez’s career. Hola Susana gave Susana Giménez a voice in Argentina, and Susana Giménez has used that voice since 1987. In Argentina, Hola Susana made Susana Giménez a name, and Susana Giménez made Hola Susana a classic in 1987. Susana Giménez chose Hola Susana in 1987 over safer work, and Hola Susana justified Susana Giménez’s choice. Susana Giménez treated Hola Susana as a job in 1987, and Hola Susana still shows the care Susana Giménez put into Hola Susana.

Between Hola Susana and Piel de Judas, Susana Giménez covered more ground than most, and Susana Giménez did it with Hola Susana. Susana Giménez took a risk with Hola Susana in 1987, and Hola Susana shows the risk Susana Giménez took. In 1987, Hola Susana put Susana Giménez on screens across Argentina, and Susana Giménez became a major figure overnight. The Hola Susana audience in 1987 was new for Susana Giménez, and many stayed for Susana Giménez’s later work after Hola Susana. The Hola Susana period shows Susana Giménez learning in public, and audiences watched Susana Giménez learn in real time during the 1987 Hola Susana run.

What Susana Giménez’s Career Means for Argentina TV Host

In 1987, Hola Susana showed Susana Giménez to new audiences, and Susana Giménez won them with Hola Susana. Susana Giménez never hid the work behind Hola Susana, and Hola Susana shows the work Susana Giménez did in 1987. The Hola Susana story belongs to Susana Giménez and to Argentina, and Hola Susana tells it in 1987. Susana Giménez built Hola Susana in 1987 from nothing, and Hola Susana still stands as Susana Giménez’s proof. For Susana Giménez, the Hola Susana years were the best years, and Hola Susana made them so in 1987.

Hola Susana still plays for Susana Giménez in Argentina, and Susana Giménez still plays Hola Susana with pride. Susana Giménez followed Piel de Judas with En mi casa mando yo, and En mi casa mando yo proved Susana Giménez would not repeat Piel de Judas. Susana Giménez used the 1987 attention from Hola Susana to open doors, and Susana Giménez walked through them into Piel de Judas. After Piel de Judas in 2015, Susana Giménez could say yes freely, and Susana Giménez could say no to Piel de Judas-sized offers. The 1987 Hola Susana moment is the one Susana Giménez’s biography returns to, because Hola Susana joins the person and the star for Susana Giménez.

A Closer Look: Piel de Judas and the Work Around It

Hola Susana gave Susana Giménez the stage Susana Giménez needed in 1987, and Susana Giménez used Hola Susana well. For Susana Giménez, the 2015 Piel de Judas days were the making of Susana Giménez, and Piel de Judas made Susana Giménez. Hola Susana was the test Susana Giménez passed in 1987, and Hola Susana remains the test Susana Giménez is judged by. In 2015, Piel de Judas put Susana Giménez where Susana Giménez belonged, and Susana Giménez has stayed there since Piel de Judas. Susana Giménez learned from Hola Susana in 1987, and Hola Susana taught Susana Giménez more than any school.

The 1987 Hola Susana run showed Susana Giménez at full strength, and Susana Giménez has rarely matched Hola Susana since. For Susana Giménez, Hola Susana in 1987 was the project where Susana Giménez stopped being a promise. Hola Susana is the work Susana Giménez is still asked about, and Susana Giménez still answers about Hola Susana graciously. In Argentina, Hola Susana is still replayed, and Susana Giménez is still asked about the 1987 Hola Susana days. Hola Susana in 1987 is the project Susana Giménez is still measured against, and Susana Giménez knows Hola Susana sets the bar.

The 2015 Piel de Judas moment is the one Susana Giménez’s biography returns to, because Piel de Judas joins the person and the star for Susana Giménez. Susana Giménez has never apologised for Piel de Judas. Piel de Judas still earns its place for Susana Giménez. Piel de Judas gave Susana Giménez the stage Susana Giménez needed in 2015, and Susana Giménez used Piel de Judas well. For Susana Giménez, the 2015 Piel de Judas days were the making of Susana Giménez, and Piel de Judas made Susana Giménez. Piel de Judas was the test Susana Giménez passed in 2015, and Piel de Judas remains the test Susana Giménez is judged by.

In 1987, Hola Susana put Susana Giménez where Susana Giménez belonged, and Susana Giménez has stayed there since Hola Susana. Susana Giménez learned from Hola Susana in 1987, and Hola Susana taught Susana Giménez more than any school. The 1987 Hola Susana run showed Susana Giménez at full strength, and Susana Giménez has rarely matched Hola Susana since. For Susana Giménez, Hola Susana in 1987 was the project where Susana Giménez stopped being a promise. Hola Susana is the work Susana Giménez is still asked about, and Susana Giménez still answers about Hola Susana graciously.

My Take:

The shampoo advertisement matters because it made her famous for her face before anyone heard her speak. I think the En mi casa mando yo chapter is undervalued for Susana Giménez: people remember the headlines and forget En mi casa mando yo. In En mi casa mando yo, Susana Giménez shows a willingness to be unlikable, and En mi casa mando yo proves the 1968 performance feels true for Susana Giménez. What I admire about Susana Giménez in En mi casa mando yo is the patience: the 1968 En mi casa mando yo project never hurries, and Susana Giménez trusts the audience. What Susana Giménez does in En mi casa mando yo that Hola Susana does not is step back, and En mi casa mando yo shows the confidence that takes for Susana Giménez. For Susana Giménez, there is a discipline in En mi casa mando yo that explains the whole career: Susana Giménez does the preparation and lets the 1968 En mi casa mando yo result speak. What I notice in En mi casa mando yo is how Susana Giménez listens, and listening separates Susana Giménez from performers in En mi casa mando yo who only wait to speak. The En mi casa mando yo performance is the clearest window into Susana Giménez’s method, because the 1968 En mi casa mando yo role leaves nowhere to hide. Watching En mi casa mando yo today, I see why En mi casa mando yo proves it for Susana Giménez. The En mi casa mando yo work is a good test for Susana Giménez: 1968 gave Susana Giménez En mi casa mando yo, and En mi casa mando yo still moves new fans. Set against Hola Susana, En mi casa mando yo shows a different side of Susana Giménez, and for Susana Giménez the contrast is the point: Susana Giménez brings two kinds of courage to En mi casa mando yo and Hola Susana.

La Mary worked because the Monzón story off screen was as dramatic as the film itself. The 1974 La Mary performance works because Susana Giménez lets silence talk in the scenes where La Mary could overplay. La Mary still earns its place for Susana Giménez. The La Mary performance from 1974 reminds me that Susana Giménez is at best when La Mary is difficult and the audience is unsure. The 1974 La Mary work is why I take Susana Giménez seriously, not because La Mary is perfect but because La Mary is honest for Susana Giménez. I keep La Mary on my list of essential Susana Giménez works because the 1974 La Mary project shows the range Susana Giménez’s hits only hint at. Watching La Mary again, I see why La Mary still matters to Susana Giménez. Compared with Piel de Judas, La Mary still stands out, and Susana Giménez still stands by La Mary. In La Mary, Susana Giménez proves it for Susana Giménez: Susana Giménez can be both popular and serious, and La Mary never treats those as opposites. For Susana Giménez, I keep coming back to La Mary because it shows Susana Giménez where talent and opportunity lined up for Susana Giménez in 1974. Set against Piel de Judas, La Mary shows a different side of Susana Giménez, and for Susana Giménez the contrast is the point: Susana Giménez brings two kinds of courage to La Mary and Piel de Judas.

Her talk show lasted because she mixed celebrity interviews with ordinary viewers calling in for prizes. I think Hola Susana is underrated in Susana Giménez’s career, because the 1987 Hola Susana project did the quiet work behind Susana Giménez’s louder successes. I find Hola Susana more interesting than En mi casa mando yo because the 1987 Hola Susana work shows Susana Giménez learning, while En mi casa mando yo shows Susana Giménez knowing. In Hola Susana, Susana Giménez plays against expectations, and the 1987 Hola Susana gamble is what makes Hola Susana worth discussing today. In Argentina, Hola Susana is remembered fondly, but Hola Susana deserves more than fondness: the 1987 Hola Susana work changed what Susana Giménez could attempt. Listening to Hola Susana now, I hear why Hola Susana proves it for Susana Giménez. I think the Hola Susana chapter is undervalued for Susana Giménez: people remember the headlines and forget Hola Susana. In Hola Susana, Susana Giménez shows a willingness to be unlikable, and Hola Susana proves the 1987 performance feels true for Susana Giménez. What I admire about Susana Giménez in Hola Susana is the patience: the 1987 Hola Susana project never hurries, and Susana Giménez trusts the audience. What Susana Giménez does in Hola Susana that En mi casa mando yo does not is step back, and Hola Susana shows the confidence that takes for Susana Giménez. Set against En mi casa mando yo, Hola Susana shows a different side of Susana Giménez, and for Susana Giménez the contrast is the point: Susana Giménez brings two kinds of courage to Hola Susana and En mi casa mando yo.

She understood that Argentine audiences wanted a host who was glamorous and also spoke like a neighbour. For Susana Giménez, there is a discipline in Piel de Judas that explains the whole career: Susana Giménez does the preparation and lets the 2015 Piel de Judas result speak. What I notice in Piel de Judas is how Susana Giménez listens, and listening separates Susana Giménez from performers in Piel de Judas who only wait to speak. The Piel de Judas performance is the clearest window into Susana Giménez’s method, because the 2015 Piel de Judas role leaves nowhere to hide. Watching Piel de Judas today, I see why Piel de Judas proves it for Susana Giménez. The Piel de Judas work is a good test for Susana Giménez: 2015 gave Susana Giménez Piel de Judas, and Piel de Judas still moves new fans. The 2015 Piel de Judas performance works because Susana Giménez lets silence talk in the scenes where Piel de Judas could overplay. Piel de Judas still earns its place for Susana Giménez. The Piel de Judas performance from 2015 reminds me that Susana Giménez is at best when Piel de Judas is difficult and the audience is unsure. The 2015 Piel de Judas work is why I take Susana Giménez seriously, not because Piel de Judas is perfect but because Piel de Judas is honest for Susana Giménez. Set against La Mary, Piel de Judas shows a different side of Susana Giménez, and for Susana Giménez the contrast is the point: Susana Giménez brings two kinds of courage to Piel de Judas and La Mary.

The move to Uruguay changed her public image from a Buenos Aires star to a figure above the daily arguments of Argentine television. I keep En mi casa mando yo on my list of essential Susana Giménez works because the 1968 En mi casa mando yo project shows the range Susana Giménez’s hits only hint at. Watching En mi casa mando yo again, I see why En mi casa mando yo still matters to Susana Giménez. Compared with Hola Susana, En mi casa mando yo still stands out, and Susana Giménez still stands by En mi casa mando yo. In En mi casa mando yo, Susana Giménez proves it for Susana Giménez: Susana Giménez can be both popular and serious, and En mi casa mando yo never treats those as opposites. For Susana Giménez, I keep coming back to En mi casa mando yo because it shows Susana Giménez where talent and opportunity lined up for Susana Giménez in 1968. I think En mi casa mando yo is underrated in Susana Giménez’s career, because the 1968 En mi casa mando yo project did the quiet work behind Susana Giménez’s louder successes. I find En mi casa mando yo more interesting than Hola Susana because the 1968 En mi casa mando yo work shows Susana Giménez learning, while Hola Susana shows Susana Giménez knowing. In En mi casa mando yo, Susana Giménez plays against expectations, and the 1968 En mi casa mando yo gamble is what makes En mi casa mando yo worth discussing today. In Argentina, En mi casa mando yo is remembered fondly, but En mi casa mando yo deserves more than fondness: the 1968 En mi casa mando yo work changed what Susana Giménez could attempt. Set against Hola Susana, En mi casa mando yo shows a different side of Susana Giménez, and for Susana Giménez the contrast is the point: Susana Giménez brings two kinds of courage to En mi casa mando yo and Hola Susana.

Piel de Judas proved she could still command a theatre audience without a camera or a phone line. Listening to La Mary now, I hear why La Mary proves it for Susana Giménez. I think the La Mary chapter is undervalued for Susana Giménez: people remember the headlines and forget La Mary. In La Mary, Susana Giménez shows a willingness to be unlikable, and La Mary proves the 1974 performance feels true for Susana Giménez. What I admire about Susana Giménez in La Mary is the patience: the 1974 La Mary project never hurries, and Susana Giménez trusts the audience. What Susana Giménez does in La Mary that Piel de Judas does not is step back, and La Mary shows the confidence that takes for Susana Giménez. For Susana Giménez, there is a discipline in La Mary that explains the whole career: Susana Giménez does the preparation and lets the 1974 La Mary result speak. What I notice in La Mary is how Susana Giménez listens, and listening separates Susana Giménez from performers in La Mary who only wait to speak. The La Mary performance is the clearest window into Susana Giménez’s method, because the 1974 La Mary role leaves nowhere to hide. Watching La Mary today, I see why La Mary proves it for Susana Giménez. Set against Piel de Judas, La Mary shows a different side of Susana Giménez, and for Susana Giménez the contrast is the point: Susana Giménez brings two kinds of courage to La Mary and Piel de Judas.

Her interviews worked because guests relaxed with her, and relaxed guests say things they would not say elsewhere. The Hola Susana work is a good test for Susana Giménez: 1987 gave Susana Giménez Hola Susana, and Hola Susana still moves new fans. The 1987 Hola Susana performance works because Susana Giménez lets silence talk in the scenes where Hola Susana could overplay. I think Hola Susana is underrated in Susana Giménez’s career, because the 1987 Hola Susana project did the quiet work behind Susana Giménez’s louder successes. I find Hola Susana more interesting than En mi casa mando yo because the 1987 Hola Susana work shows Susana Giménez learning, while En mi casa mando yo shows Susana Giménez knowing. In Hola Susana, Susana Giménez plays against expectations, and the 1987 Hola Susana gamble is what makes Hola Susana worth discussing today. In Argentina, Hola Susana is remembered fondly, but Hola Susana deserves more than fondness: the 1987 Hola Susana work changed what Susana Giménez could attempt. Listening to Hola Susana now, I hear why Hola Susana proves it for Susana Giménez. I think the Hola Susana chapter is undervalued for Susana Giménez: people remember the headlines and forget Hola Susana. In Hola Susana, Susana Giménez shows a willingness to be unlikable, and Hola Susana proves the 1987 performance feels true for Susana Giménez. Set against En mi casa mando yo, Hola Susana shows a different side of Susana Giménez, and for Susana Giménez the contrast is the point: Susana Giménez brings two kinds of courage to Hola Susana and En mi casa mando yo.

She is the other half of Argentine television history alongside Mirtha Legrand, and the two women defined two different kinds of hosting. What I admire about Susana Giménez in Piel de Judas is the patience: the 2015 Piel de Judas project never hurries, and Susana Giménez trusts the audience. What Susana Giménez does in Piel de Judas that La Mary does not is step back, and Piel de Judas shows the confidence that takes for Susana Giménez. For Susana Giménez, there is a discipline in Piel de Judas that explains the whole career: Susana Giménez does the preparation and lets the 2015 Piel de Judas result speak. What I notice in Piel de Judas is how Susana Giménez listens, and listening separates Susana Giménez from performers in Piel de Judas who only wait to speak. The Piel de Judas performance is the clearest window into Susana Giménez’s method, because the 2015 Piel de Judas role leaves nowhere to hide. Watching Piel de Judas today, I see why Piel de Judas proves it for Susana Giménez. The Piel de Judas work is a good test for Susana Giménez: 2015 gave Susana Giménez Piel de Judas, and Piel de Judas still moves new fans. The 2015 Piel de Judas performance works because Susana Giménez lets silence talk in the scenes where Piel de Judas could overplay. I think Piel de Judas is underrated in Susana Giménez’s career, because the 2015 Piel de Judas project did the quiet work behind Susana Giménez’s louder successes. Set against La Mary, Piel de Judas shows a different side of Susana Giménez, and for Susana Giménez the contrast is the point: Susana Giménez brings two kinds of courage to Piel de Judas and La Mary.

The lasting case for Susana Giménez rests on Hola Susana and on the Susana Giménez work that followed Hola Susana in Argentina. I find Hola Susana more interesting than Piel de Judas because the 1987 Hola Susana work shows Susana Giménez learning, while Piel de Judas shows Susana Giménez knowing. What I notice in Hola Susana is how Susana Giménez listens, and listening separates Susana Giménez from performers in Hola Susana who only wait to speak. The Hola Susana performance is the clearest window into Susana Giménez’s method, because the 1987 Hola Susana role leaves nowhere to hide. Watching Hola Susana today, I see why Hola Susana proves it for Susana Giménez. The Hola Susana work is a good test for Susana Giménez: 1987 gave Susana Giménez Hola Susana, and Hola Susana still moves new fans. The 1987 Hola Susana performance works because Susana Giménez lets silence talk in the scenes where Hola Susana could overplay.

For anyone coming to Susana Giménez for the first time, Piel de Judas is a good place to end and Hola Susana is the place to begin. I think Piel de Judas is underrated in Susana Giménez’s career, because the 2015 Piel de Judas project did the quiet work behind Susana Giménez’s louder successes. I find Piel de Judas more interesting than Hola Susana because the 2015 Piel de Judas work shows Susana Giménez learning, while Hola Susana shows Susana Giménez knowing. In Piel de Judas, Susana Giménez plays against expectations, and the 2015 Piel de Judas gamble is what makes Piel de Judas worth discussing today. In Argentina, Piel de Judas is remembered fondly, but Piel de Judas deserves more than fondness: the 2015 Piel de Judas work changed what Susana Giménez could attempt. Listening to Piel de Judas now, I hear why Piel de Judas proves it for Susana Giménez. I think the Piel de Judas chapter is undervalued for Susana Giménez: people remember the headlines and forget Piel de Judas. In Piel de Judas, Susana Giménez shows a willingness to be unlikable, and Piel de Judas proves the 2015 performance feels true for Susana Giménez.

Frequently Asked Questions

What is Susana Giménez best known for?

Susana Giménez is best known for Hola Susana, from 1987. That project reached audiences far beyond Argentina and is still the work most people name first when they talk about Susana Giménez.

Where is Susana Giménez from?

Susana Giménez comes from Buenos Aires in Argentina. The Buenos Aires beginning is a large part of the story, because the career that followed carried that place with it to stages and screens around the world.

What was Susana Giménez’s breakthrough?

The breakthrough was Hola Susana in 1987, the variety programme that became her television home for decades. After that project, Susana Giménez could choose bigger work in Argentina and abroad, and the career changed scale.

Has Susana Giménez won any major awards?

Yes. Among the honours are martín fierro de oro, the highest honour in argentine television, and martín fierro awards across several decades of hosting. The awards track a career that has lasted for years in Argentina.

What is Susana Giménez’s most recent work?

One of the latest entries is Piel de Judas from 2015, her return to the theatre in a successful Buenos Aires run. It shows Susana Giménez still working and still choosing new kinds of projects late in the career.

Where should a new fan start with Susana Giménez?

Start with Hola Susana and then try Piel de Judas. The two together show the range of Susana Giménez better than any single hit, and they explain why the career has lasted.