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Alfonso Reyes University
Linda Vista Drive
www.uar.edu.mx
Subject: English IV
Teacher: Lic. Samantha Badillo C.
Topic: Biography of Maria Félix
Name: Mariely Lorena Salazar Salazar
Group: 4th "C"
Tuition: L-10689
biography
Maria
de los Angeles Felix Guerena (Alamos, Sonora, April 8, 1914 - Mexico City,
April 8, 2002), better known as Maria Felix was a prominent Mexican actress,
known worldwide for its dazzling beauty, great intelligence and strong temperament.
It is considered, along with Dolores del Rio, as the ultimate Diva gold Mexican
cinema. Highlighted in the call Golden Age of Mexican Cinema, extolling his
name, and Mexico, to consolidate his figure, as worthy representation of
Mexican women face around the globe, thanks to his starring roles in European
films and other speaking countries Hispanic.
It is well known by the nickname
"La Doña" nickname earned from its strong character in the film
"Dona Barbara" (1943). It is also known as "Maria Bonita",
thanks to waltz composed exclusively for her, as a wedding gift for the
"Musician Poet": Agustin Lara, also known as "El Flaco de
Oro," the day that the two were married, in 1945. Upon reaching Europe,
María Félix, made such an impact, for the perfection of its beauty, the French
called "La Plus Belle Femme du Monde" (the most beautiful woman in
the world), which was also known as "The Mexicaine» (The Mexican).
Childhood and youth
Maria de los Angeles Felix Guerena was
born in Alamos, Sonora on April 8, 1914. She was the daughter of Felix
Bernardo, descendant of Yaqui Indians. His mother's name was Josefina Guerena,
of Spanish descent. He had twelve children: Josephine, Maria de la Paz, Paul
Bernardo, Miguel, Maria Mercedes, Fernando, Victoria Eugenia, Ricardo, Benjamin
and Ana Maria del Sacramento.
During her childhood she worked closely
with his friend José Alfredo Román Saviñón, while the separated mother thinking
they could get involved in a relationship incestuosa.1 For this purpose,
Alfredo sent to military school. Those who knew Mary say that, as a child, he
enjoyed hobbies own boy, far from expected as a girl. As a young girl was
brought as an accomplished rider.
Time passed favorably for her beauty
appearance soon began to attract attention. Was crowned queen of beauty
student. Very young still accepted in marriage to Enrique Alvarez Alatorre, a
seller of cosmetics firm Max Factor (with whom she had her only child, actor
Enrique Alvarez Felix), who eventually divorced. He then traveled to Mexico City,
where thanks to a chance meeting with Fernando Palacios became part of the film
profession.
Film career
Maria Felix was known as La Doña for her
role in the movie Doña Bárbara (1943), based on the novel by Romulo Gallegos
and the protagonist of Doña Diabla (1949).
Maria Felix and Jorge Negrete began a
bad relationship during the filming of The Rock of Souls (1942), Michael
Zacharias, as he had asked his girlfriend Gloria Marín for the lead role. For
this reason the filming of The Rock of souls was difficult and led to a direct
confrontation between the two. What helped cement the reputation of "The
Lady" as a hard and haughty woman who contributed so much to its success.
After filming The Rock of souls, his
fame has not stopped growing since. So much so that films like Maria Eugenia
(1943), Felipe Gregorio Castillo, and Doña Bárbara (1943), Fernando de Fuentes,
was granted the status of Mexican film diva.
A starring role alongside an idol Jorge
Negrete was a door large enough that crossed unashamedly a woman with so much
charisma and self-esteem. Thereafter, all papers would be protagonists.
Specifically her portrayal of Lady Barbara Venezuelan writer Romulo Gallegos is
unsurpassed. Gallegos himself was responsible for the screenplay and dialogues
of the film and you have to meet in a restaurant Mary exclaimed: "It's
her! It is my Dona Barbara ".
His fame increased to marry the
great "Poet Musician" Agustín Lara, who begins a relationship in
1943, which sealed in marriage in 1945. As a wedding gift, Lara, she composes
for his own anthem ":" Maria Bonita ", which, the
internationally enshrined she always valued, saying in his own words, was
like" a timeless gift. "His marriage to Lara concludes in 1947.
Doña Bárbara will be the beginning of
important collaborations between Maria and Fernando de Fuentes, under whom
filmed's Wife (1943) and The Eater (1946), films that contribute to his
celebrity as "quintessential vamp of Mexican cinema" , but abandons
role in films like The White Monk (1945) by Julio Bracho and after his first
meeting with Emilio Fernandez and his renowned team.
Led by Fernández, María perform the
three films that embody internationally: In Love (1946), Río Escondido (1947)
and Maclovia (1948). Thanks to these films, the fame of Mary crossed the
Atlantic.
Hired by the Spanish producer Cesareo
Gonzalez, Maria made three major films in Spain. Thanks to this, the actress
participated in several projects abroad, among which include Mare Nostrum
(1948), Rafael Gil, and the Black Crown (1951), the Argentine Luis Saslavsky
film based on a story by Jean Cocteau .
Spanish production starred Saturday
night (1950) by Rafael Gil, written from the play by Jacinto Benavente, and
Camelia (1953), Robert Gavaldón, where he teamed with Spanish actor Jorge
Mistral, well known to both sides of the Atlantic.
From Spain pass to Italy, where held
Incantessimo Tragic (1951) and Messalina (1951), Carmine Gallone, at the time,
the most expensive film of Italian cinema.
In 1952, Mary returned to Mexico. Your
stay in the country will be based primarily on his marriage to Jorge Negrete,
his former enemy, and who gets married Mary in 1952, eleven months after
enviudando.
After the death of Negrete, Maria
returns to Europe. In France held the ribbons La Belle Otero (1954) and Les
Heroes are Fatigues (1955), the latter alongside Yves Montand. However, more
important tape of Mary in this period is French Cancan (1954), the great French
director Jean Renoir.
Upon his return to Mexico in 1955, Mary,
has already become mythical figure of cinema, will have the luxury of choosing
their own films, directors and even co-stars. From this period are La Escondida
(1955), Canasta Mexican tale (1955) and Café Colón (1958), three with Pedro
Armendariz, for many the quintessential leading man, only figure that could not
obscure the screen. In 1956 he stars Tizoc (1956), next to the idol of Mexico,
Pedro Infante, a film that was however not liked by the actress despite her
international success. To compensate, the director of Tizoc (Ismael Rodriguez)
he creates a great vehicle for showcasing: The cockroach, where the director
makes full use of the strong personality of Mary, making her rival "add
mythical" Dolores del Río.
His subsequent contact with foreign
films is limited to Spanish tapes Faustina (1957), by José Luis Sáenz de
Heredia and Sonatas] (1959), Juan Antonio Bardem, and the Franco-Mexican Fever
Monte El Pao (Ambitious), directed by Luis Buñuel.
In 1956, Mary married for the fourth
time, now, with French banker Alexander Beger, who live between Mexico and
France, and whose widowed 18 years later.
In the 60's, Mary's presence is limited
to only a few films, the most notable being Juana Gallo (1960) and Love &
Sex (Sappho '63), (1963), which takes a partial nudity.
The Mexican soap opera The Constitution
(1970), directed by his friend, "Mr. Telenovela" Ernesto Alonso, will
be his last professional acting job.
Thereafter, Maria withdrew from public
life partially to pursue one of his passions: horses. Some of his specimens
came to international equestrian major prizes. His last girlfriend was the
French painter Antoine Tzapoff.
The later years of Mary pass between
social events, tributes, controversial opinions ("I do not know why Fox
kneels before this filthy Mark"), simple nonsense ("The much wanted
were my friends, but not Diego and Frida me painters seem. they lack, they lack
"). Until the end of his life said he wanted to return to acting, but
nothing ever materialized.
The death of his son and fervent
admirer, Enrique Álvarez Félix, full of grief. In addition, Mary refuses to
become a Norma Desmond in Sunset Boulevard, asylee at his residence and handed
over to the review of his films. As Norma Desmond, exclaims: "Then we had
faces!" Unlike the character played by Gloria Swanson prodigiously, never
escapes the world. Weeks before his death, go to a concert of Luis Miguel, who
comes over and kisses her. A reporter asked: "Where was given the
kiss?". The typical response is: "In the mouth".
Death
Maria Felix died in his sleep, at
approximately 1:00 am. Mexico City time, but only until approximately 10:00 am
that April 8, 2002 it was discovered the lifeless body, of this unfortunate
event gave information their GP Dr. Enrique Peña.
The day he died, which incidentally was
the same in which he was born, his lifeless body was laid in a coffin and it
was transported from his residence in the Colonia Polanco Mexico City in the
magnificent Palace of Fine Arts. The funeral procession was flanked by an
escort of motorcyclists and townspeople that accompanied it, the cheered and
applauded as it passes through the different streets they marched to reach
their destination in the city. The coffin with the remains of Mary never opened
according to the wishes of the deceased own.
The coffin remained in Fine Arts for 22
hours of this historic site, the funeral procession started dismissing the
heartfelt singing "Swallow" at the National Association of Actors
where he paid homage at the Teatro Jorge Negrete, expressing some words alluding
to the act by John Empire, and his fellow actors singing "Maria
Bonita". From this place the funeral procession went to the French
Pantheon where his remains lie beside his son Enrique Alvarez Felix and his
parents.
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