Für ihre Hauptrolle in seinem Film Las Abandonadas erhielt sie 1946 einen Ariel bei der ersten Verleihung dieses mexikanischen Filmpreises. [12][13], Her parents were members of the Mexican aristocracy that existed during the Porfiriato (period in the history of Mexico when the dictator Porfirio Díaz was the president). According to Rebecca, until the end of his life, Welles felt for del Río a kind of obsession. [34], Edwin Carewe had ambitions to marry del Río, with the intent that they become a famous Hollywood couple. Her relationship with Welles, in the midst of the Citizen Kane scandal, somehow affected her, as her character was drastically reduced in the film. August 1905 zu Durango a gestuerwen den 11. The first is a statue located in the second section of. [82], On April 11, 1983, Dolores del Río died from liver failure at the age of 78, in Newport Beach, California. In 1954, del Río was slated to appear as the wife of Spencer Tracy's character in the 20th Century Fox film Broken Lance. Zu ihren wenigen Auftritten in US-amerikanischen Produktionen gehörten Don Siegels Flammender Stern aus dem Jahr 1960, in dem sie die Mutter von Elvis Presley spielte, sowie John Fords Cheyenne. [70] To prepare for this new facet of her career, she engaged the services of Stella Adler as her acting coach. But after the cotton market suffered a precipitous fall, the couple was on the verge of ruin. Fernández said: "I fell in love with her, but she always ignored me. Unfortunately the prevailing censorship in the Spanish cinema caused the film to be seriously truncated during editing. [37], Having finally broken off professionally from Carewe, del Río was prepared for the filming of her first talkie: The Bad One, directed by George Fitzmaurice. When Dolores Del Río met American filmmaker Edwin Carewe, her talent was so captivating that he convinced her to move to California. —Del Río commenting about her role as a Mexican woman in Hollywood. They organized 'Sunday brunches' in their Art Deco house at 757 Kingman Avenue in Pacific Palisades. God can give us beauty and genes can give us our features, but whether that beauty remains or changes is determined by our thoughts and deeds. The beauty and elegance of del Río had impressed him deeply. Six months later, she received news that Jaime had died in Germany. Del Rio came from an aristocratic family in Durango. The others have been Lupe Vélez, Katy Jurado, and in recent years Salma Hayek[125] and Lupita Nyong'o. In 1924, the couple returned to Mexico. With the advent of sound, she acted in a range of film genres, from contemporary crime melodramas to musical comedies and romantic dramas. Her deteriorating health led her to cancel two television projects in 1975. She won the Silver Ariel (Mexican Academy Award) as best actress for her role in the film. […] Der unter Lloyd Bacons Regie flott gespielte, getanzte und gesungene Film gehört natürlich in erster Linie zur Sorte der Revuefilme. Unfortunately, she suffered a miscarriage and her doctor informed her that she should never again become pregnant, at risk of losing her life. But despite his position at the studio, Gibbons could never help his wife in his place of work, where the leading figures were Greta Garbo, Norma Shearer, Joan Crawford and Jean Harlow. Del Río's character grew, while the character of Kay Francis, the other female star of the film, was reduced. La actriz llegó a Hollywood y puso el nombre de México en alto. [25][26], The film director Raoul Walsh called del Río to cast her in the war film What Price Glory? In both films, Lancer Spy (1937) and International Settlement (1938), del Río plays the role of a seductive spy. In 2005, on what was believed to be the centenary of her birth (she was actually born in 1904), her remains were moved to the. [40] Shortly after her marriage, del Río fell seriously ill with a severe kidney infection. Del Río and Jolson were gradually stealing the show. Durango aristocratic families were threatened by the insurrection that Pancho Villa was leading in the region. Every bad deed, every bad fault will show on your face. Del Rio's last film appearance was in The Children of Sanchez (1978), directed by Hall Bartlett and starring Anthony Quinn. Unzufrieden mit den Rollenangeboten kehrte sie danach nach Mexiko zurück, wo sie die nationale Filmindustrie mitaktivierte und für weitere 25 Jahre als einer der Topstars des nationalen Kinos galt. During the next years she appeared in Mexican and American films. In order to eclipse her, he filmed a new sound version of Resurrection starring Lupe Vélez, another popular Mexican film star and alleged rival of del Río. The document signed by her cheering for world peace, as well as her links with figures openly communist (as Diego Rivera and Frida Kahlo were) and her past relationship with Orson Welles, had been interpreted in the United States as sympathy with communism. Del Río never understood the quarrel that Vélez kept with her inquiring to meet her because it hurt to be ridiculed by the Mexican Spitfire. At this party, she met Jaime Martínez del Río y Viñent, son of a wealthy family. Dolores del Río, pseudonimo di Dolores Martínez Asúnsolo y López Negrete (Durango, 3 agosto 1905 – Newport Beach, 11 aprile 1983), è stata un' attrice e ballerina messicana interprete di numerosi film prettamente a sfondo esotico e di avventura. In spite of this settlement, Carewe started a campaign against her. In Hollywood, he could fulfill his old dream of writing screen plays. From the late 1950s until the early 1970s she also successfully ventured into theater in Mexico and appeared in some American TV series. Nach Ballettunterricht am Konservatorium in Mexiko-Stadt, und später auch in Europa ging del Río 1925 zum Film nach Hollywood und debütierte in Joanna von Edwin Carewe. [119] In 1976 she served as president of the jury in the San Sebastian Film Festival. Dolores del Rio was the one of the first Mexican movie stars with international appeal and who had meteoric career in the 1920s/1930s Hollywood. Dolores del Río Yesterday at 6:02 PM # doloresdelrío # r ... eddance # raoulwalsh # hollywood # classichollywood # cine # film # silenthollywood # silentfilms # cinemudo # 1920s See More She toured Mexico in the play, an enterprise that was both financially and critically successful, and she later took it to Buenos Aires. Del Rio's intrinsic elegance was apparent even off-screen. [53], Amid the decline of her career, in 1940 Dolores met actor and filmmaker Orson Welles at a party organized by Darryl Zanuck. Margarita Guzman assists with a sense of calm. [32] As if this were not enough, Del Río had to suffer incessant harassment from her discoverer, Edwin Carewe, who did not cease in his attempt to conquer her. This is my goal in Hollywood: All my efforts are turned toward filling this gap in the cinema. When the two stars realized the mistake they refused to return the scripts. Del Rio got her first starring role in the comedy Pals First (1926) also directed by Carewe,[24] a lost film. The face of del Río was also the object of veneration for many artists who shaped her image on their canvases. Carewe, with the support of the United Artists directed and produced Resurrection (1927), based on the novel by Leo Tolstoy. Dolores's father decided to escape to the United States, while she and her mother fled to Mexico City in a train, disguised as peasants. Subsequently, they filmed María Candelaria, the first Mexican film to be screened at the Cannes International Film Festival where it won the Grand Prix (now known as the Palme d'Or) becoming the first Latin American film to do so. Del Río and her husband founded their own production company called Producciones Visuales. The American television series Who'll See the Children? Dolores del Río ("Red Dance", Raoul Walsh, 1928). During the ceremony she was remembered as a victim of McCarthyism. Erst ein Wechsel zu RKO im Jahr 1932 revitalisierte ihre Karriere. After their meeting, Rebecca said: "My father considered Dolores the great love of his life. We were friends and we always treated each other with great respect. The film gathers a successful film crew consisting of Fernandez, the cinematographer Gabriel Figueroa, the screenwriter Mauricio Magdaleno and del Río and Pedro Armendariz as the stars. Just a year after her first film, Del Ríos first major success came in the 1926 comedy-drama war film What Price Glory? Ramona was the first United Artists film with synchronized sound. [49], In the same year, del Río, along with Ramón Novarro and Lupe Vélez, attended a special screening of the Mexican film ¡Que Viva México!. Durante muchos años, Dolores también fue una de las principales … (1926 again). Furious, Carewe filed criminal charges against Dolores. In 1938, the actress was portrayed by her close friend, the famous Mexican artist Diego Rivera. [92], When Del Río returned to Mexico, she radically changed her image. The film was accompanied by a theme song written by Al Jolson and Billy Rose and played by del Río. [114], In the late 1950s, she became a main promoter of the Acapulco International Film Review, serving as host on numerous occasions. [65] Del Río was directed again by Roberto Gavaldón in two films: The Little House (La casa chica, 1950) and Desired (Deseada, 1951). Portrait of actress Dolores del Rio, wearing a large hat and holding a parasol, in a film still, circa 1920. Carewe prepared his divorce from his wife Mary Atkin and seeded false rumors in campaigns of his films. Del Río is now considered a mythical figure of American and Mexican cinema, and a quintessential representation of the female face of Mexico in the world. In Spain Dolores danced again in a charity show for wounded soldiers in the battle of Melilla. Other artists who recorded her image in her paintings were Miguel Covarrubias, Rosa Rolanda, Antonieta Figueroa, Frances Gauner Goshman, Adolfo Best Maugard and John Carroll. Del Río was already thinking that the play Anastacia of Marcelle Maurette, would be a good choice for her debut. Both films were box-office failures. I appreciate her very much and I have great memories of her". She was hired by Fox to play the role of the mother of Elvis Presley's character in the film Flaming Star (1960), directed by Don Siegel. She inspired Jaime Torres Bodet's novel La Estrella de Día (Star of the Day), published in 1933, which chronicles the life of an actress named "Piedad". I felt the need to return to my country. Stop being a star and become an actress, and that I could only do in Mexico. Tanzbilder mit splendider Ausstattung (dazu ins Ohr gehende Schlagermelodien) rücken immer aufs neue in den Rahmen der Lichtspielbühne und unterbrechen die nicht sehr kompakte, wenig aufregende aber amüsante Handlung eines Films, Among her most successful films of that decade include Bird of Paradise (1932), Flying Down to Rio (1933) and Madame Du Barry (1934). However, despite the popularity of the three stars, the film was a failure. I adored her... really I adored her. In the evening Dolores danced and her husband accompanied her on the piano. The film was directed by Sergei Eisenstein, and was accused of promoting Communism in California with nationalist sentiment and socialist overtones. Of them stands out the critically acclaimed María Candelaria (1943). [116], On January 8, 1970, she, in collaboration with other renowned Mexican actresses, founded the union group "Rosa Mexicano", which provided a day nursery for the children of the members of the Mexican Actor's Guild. [57] She was a friend of Mexican artists (such as Diego Rivera and Frida Kahlo), and maintained ties with Mexican society and cinema. [110], Mexican filmmaker Emilio Fernández was one her admirers. She looked beautiful". Women imitated her style of dress and makeup. Del Río came to be considered a sort of feminine version of Rudolph Valentino, a "female Latin Lover",[8][9] in her years during the American "silent" era. [51], Cedric Gibbons used his influence with MGM and gained for del Río the main female role in the film The Man from Dakota (1940). [4], Jack Warner offered her a starring role in two films for Warner Bros.[46] The first was the musical comedy Wonder Bar (1934), directed by Lloyd Bacon. But the prestige of del Río was known and respected, and Vélez could not ignore this. María de los Dolores Asúnsolo y López-Negrete. [80] Her last Mexican film, Casa de Mujeres (1967). In the Mexican revolution of 1916, however, the family lost everything and emigrated to Mexico City, where Dolores became a socialite. The last film she made with Warners was The Widow from Monte Carlo (1936), which went unnoticed. She did not come to Mexico as the Hollywood "Latin bombshell" transforming her makeup to highlight her indigenous features. Dolores del Río; Kawsaymanta qusqakuna; Paqariy sutin: María de los Dolores Asúnsolo y López Negrete Paqarisqa: Durango, 3 ñiqin ayriway killapi 1905 watapi Wañusqa: Newport Beach, California, 11 ñiqin ayriway killapi 1983 watapi Qusan Lew A. Riley Jr. Cedric Gibbons (1930 - 1941) Jaime Martínez del Río … [91] She is also considered the pioneer of the two piece swimsuit. It is my dearest wish to make fans realize their real beauty, their wonder, their greatness as a people. Vélez was popular, had many friends and devoted fans, but never attended the social circle in Hollywood, where del Río was accepted without reservations. Her name was shortened to "Dolores Del Rio" (with an incorrect capital "D" in the word "del"). I wanted to return to Mexico, a country that was mine and I did not know. At that time Riley was engaged in a torrid affair with Bette Davis. In the film The Fugitive (1947), del Río plays an indigenous woman who helps a fugitive priest (Henry Fonda). 115 talking about this. She wanted no underpinnings to spoil the line. Dolores del Río fue una de las fundadoras del Festival Internacional Cervantino de Guanajuato, y fue parte de la mesa directiva de la Sociedad Protectora del Tesoro Artístico de México por varios años. "I'd love to appear in fine, emotional dramas...and am eager to play in stories concerning my native people, the Mexican race. In 1938, she signed a contract with 20th Century Fox to star in two films with George Sanders. Considered the first major Latin American crossover Hollywood star, she would pave the way for generations of actors to follow. Carlos Monsiváis and Jorge Ayala Blanco also made her a tribute book on the occasion of the Ibero-American Film Festival of Huelva, in 1983. The film was released in June 1930 with great success. The monarchs of Spain, Alfonso XIII and Victoria Eugenie, thanked her deeply and the queen gave her a photograph. He was anxious because he was in love with del Río and could not afford to buy her a birthday present. 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