Legacy Figure

Legacy Figure indispensable Maria Felix Mexican Cinema. Controversial figure and admired for her legendary beauty and originality. The prosperous relationship F lix Mar a de los Angeles to film (47 films) began by chance. He was looking in shop windows in the Historic Center of Mexico City (between the streets of Palma and Fco I. Madero) when the director Fernando Palacios approached asking if you would like to make movies. The answer is also in the world of clich s, but those that make up the legend of La Dona: “Who said I want to get into the movies If I feel like it, I will, but when I want, and will be through the front door. ” From Dona Barbara (1943), actress and the characters began to coalesce into a single unit. Many experts say that Maria Felix always played herself in all her films.Reviews more adventurous, like Paco Ignacio Taibo I-author of “La Do a (1991) – note that the appearance of the actress in Mexican cinema scene was so shocking that the writers and directors eventually write stories according to their personality. The result was a curious mixture of fact and fiction that eventually build the myth of Felix. His fascinating image highlighted in titles like Woman Without a Soul (1943) and The Devouring (1946), Fernando de Fuentes kneeling Goddess (1947), by Roberto Gavald n, and Do a Diabla (1948), Tito Davison. It seems that she herself would enrich the image, so that his collaboration with director Emilio Fernandez allowed him to complete a trilogy heterogeneous summarizing its merits and favors that even today, the public treat it royally: Enamorada (1946), Rio Escondido (1947) and Maclovia (1948).His exceptional presence enriched the Franco-Spanish co-production La bella Otero (1954), by Richard Pottier, and in a lighter tone, gave lessons in seduction Faustina (1956) by Jose Luis Saenz de Heredia, which also involved Fernando Fernan Gomez , Conrado San Mart n, Tony Leblanc and Jose Isbert. Closing the Spanish catalog, this latest comedy featured actress in a voluptuous side effects of which are still perpetuated in the big screen. After his last film appearance in The General (1970), Mar a F lix was related at least three film projects, none of which has crystallized. The first was the film version of the novel by Carlos Fuentes “sacred zone”, whose plot bears more of a relationship with the star’s life. The second, the controversial adaptation of “Tona Machetes, a novel written by Margarita Lopez Portillo, who finished filming with Sonia Infante.The most recent was the adaptation of “The Aspern Papers” by Henry James, to be entitled “Unusual splendor” and would be directed by Jaime Humberto Hermosillo. During 1997, the press of events in Mexico speculated a return of Felix, next to Veronica Castro, playing a television version of the play “The Loves of the vampire criminals Morales Hugo Arg elles. Like her country: “U.S. so close and so far from God,” it seemed inevitable that devoured the dream machine of Hollywood. But she resisted. His argument was that they wanted to learn English or liked Indian roles he was offered: “I was not born to carry baskets”, “I am offered the roles of Indian and Indian women do in my country, abroad only plays queens” said. If something is lost with this decision, he made up with popular support and admiration of the intellectuals of his country and the Old World.His best-known biographer, Paco Ignacio Taibo, noted in his work, obviously dubbed “La Dona” – Maria Felix not only possessed “a singular beauty.” She was also instrumental in contrast with the actresses’ traditionally submissive “in their country. The Mexican writer Carlos Monsivais described it as “a succession of costumes, ‘close-ups, attitudes and memorable phrases” and as “the person he saw in the luxury stage their inner strengths.”