Dolores del Rio Un Official Fan Site Tribute

Dolores del Rio : This Is An Un Official Fan Site Tribute
Dolores del Rio
Porn Queen Actress Superstar

Dolores del Río (Spanish pronunciation: [do'lo?ez ðel 'ri.o]; born María de los Dolores Asúnsolo López-Negrete; August 3, 1904[1][2] – April 11, 1983) was a Mexican actress, dancer and singer. With a career spanning more than 50 years, she is regarded as the first major female Latin American crossover star in Hollywood,[3][4][5][6] with an outstanding career in American cinema in the 1920s and 1930s. She was also considered one of the most important female figures in the Golden Age of Mexican cinema.[7] Del Río is also remembered as one of the most beautiful faces on screen of all time.[8] After being discovered in Mexico, she began her film career in Hollywood in 1925. She had roles on a string of successful films, including Resurrection (1927), Ramona (1928) and Evangeline (1929). Del Río came to be considered a sort of feminine version of Rudolph Valentino, a "female Latin Lover",[9][10] in her years during the American "silent" era.
With the advent of sound, she acted in a range of film genres, from contemporary crime melodramas to musical comedies and romantic dramas. Among her most successful films of that decade include Bird of Paradise (1932), Flying Down to Rio (1933) and Madame Du Barry (1934). In the early 1940s, when her Hollywood career began to decline, Del Río returned to Mexico and joined the Mexican film industry, which at that time was at its peak. When Del Río returned to her native country, she became one of the more important stars of the Golden Age of Mexican cinema. A series of Mexican films starring Del Rio, are considered classic masterpieces and helped boost Mexican cinema worldwide. Of them stands out the critically acclaimed María Candelaria (1943). Del Río remained active mainly in Mexican films throughout the 1950s. In 1960 she returned to Hollywood. During the next years she appeared in Mexican and American films. From the late 1950s until the early 1970s she also successfully ventured into theater in Mexico and appeared in some American TV series

Childhood, family and first marriage (1904–24) Commemorative plaque at the house where Dolores del Río was born, situated in Durango City, Mexico. It reads: Dolores del Rio. In the history of photography there are two perfect faces: hers and Greta Garbo's María de los Dolores Asúnsolo y López-Negrete was born in Victoria de Durango, Mexico on August 3, 1904,[12] the daughter of Jesus Leonardo Asúnsolo Jacques, son of wealthy farmers and director of the Bank of Durango, and Antonia López-Negrete, belonging to one of the richest families in the country, whose lineage went back to Spain and the viceregal nobility.[13][14] 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). On her mother's side, she was a cousin of the filmmaker Julio Bracho and of actors Ramón Novarro (one of the "Latin Lovers" of the silent cinema) and Andrea Palma (another prominent actress of the Mexican cinema). On her father's side, she was a cousin of the Mexican sculptor Ignacio Asúnsolo and the social activist María Asúnsolo.[15] Her family lost all its assets during the Mexican Revolution (1910–1920). Durango aristocratic families were threatened by the insurrection that Pancho Villa was leading in the region. The Asúnsolo family decided to escape. 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.[16] In 1912, the Asúnsolo family reunited in Mexico City and lived under the protection of then-president Francisco I. Madero, who was a cousin of Antonia.[16] Dolores attended the Collège Français de Saint-Joseph,[17] a college run by French nuns and located in Mexico City. In 1919, a then 15-year-old Dolores saw a performance of the Russian ballerina Anna Pavlova, whose interpretation influenced her to become a dancer. She confirmed her decision later when she witnessed the performances of Antonia Mercé "La Argentina" in Mexico City. She then persuaded her mother to allow her to take dance lessons with the respected teacher Felipita Lopez. However, she suffered from great insecurity and felt like an "ugly duckling". Her mother commissioned the renowned painter Alfredo Ramos Martínez (famous painter of the Mexican aristocracy) to paint a portrait of her daughter. The portrait helped her overcome her insecurities.[18] In 1921, aged 17, Dolores was invited by a group of Mexican women to dance in a party to benefit a local hospital. At this party, she met Jaime Martínez del Río y Viñent, son of a wealthy family. Jaime had been educated in England and had spent some time in Europe. After a two-month courtship, the couple wed on 11 April 1921. Their honeymoon in Europe lasted two years. Jaime maintained close ties with European aristocratic circles. In Spain Dolores danced again in a charity show for wounded soldiers in the battle of Melilla. The monarchs of Spain, Alfonso XIII and Victoria Eugenie, thanked her deeply and the queen gave her a photograph. In 1924, the couple returned to Mexico. They decided to live on Jaime's ranch in Durango, where cotton was the main crop. But after the cotton market suffered a precipitous fall, the couple was on the verge of ruin. At the same time Dolores discovered she was pregnant. Unfortunately, she suffered a miscarriage and her doctor informed her that she should never again become pregnant, at risk of losing her life.[19] The couple decided to settle in Mexico City. Career Film debut and early success (1925–30) In early 1925, Dolores met the American filmmaker Edwin Carewe, an influential director at the First National studio, who was in Mexico for the wedding of actors Bert Lytell and Claire Windsor.[20] Carewe was fascinated by Dolores and managed to be invited to her home by the artist Adolfo Best Maugard. In the evening Dolores danced and her husband accompanied her on the piano. Carewe was determined to have her, so he invited the couple to work in Hollywood. Carewe convinced Jaime, saying he could turn his wife into a movie star. Jaime thought that this proposal was a response to their economic needs. In Hollywood, he could fulfill his old dream of writing screen plays.[21] Breaking with all the canons of Mexican society at that time and against their family's wishes, they journeyed by train to the United States.[21] Del Río was contracted by Carewe as her agent, manager, producer and director. Her name was shortened to "Dolores Del Rio" (with an incorrect capital "D" in the word "del"). Carewe arranged for wide publicity for her with the intention of transforming her into a star of the order of Rudolph Valentino.[22] As part of an advertising campaign, Carewe made a report dedicated to Dolores in the major magazines in Hollywood: Dolores Del Rio, the heiress and First Lady of the High Mexican Society, has come to Hollywood with a cargo of shawls and combs valued at $ 50,000 (is said to be the richest girl in her country thanks to the fortune of her husband and her parents). She will debut in the film Joanna, led by her discoverer Edwin Carewe.[23] Del Río with Victor McLaglen and Edmund Lowe in What Price Glory? (1926) Del Río in Ramona (1928) She made her film debut in Joanna (1925), directed by Carewe and released that year. In the film del Río plays the role of Carlotta De Silva, a vamp of Spanish-Brazilian origin, but she appeared for only five minutes.[24] While continuing with his advertising campaign for del Río, Carewe placed her with a secondary role in the film High Steppers (1926), starring Mary Astor. Carl Laemmle, the head of Universal Studios, interested in casting del Río to act in the comedy The Whole Town's Talking (also 1926). These films were not big hits, but helped increase her profile with the movie-going public. Del Rio got her first starring role in the comedy Pals First (1926) also directed by Carewe,[25] a lost film.[26][27] The film director Raoul Walsh called del Río to cast her in the war film What Price Glory? (1926 again). The film was a commercial success, becoming the second highest-grossing title of the year, grossing nearly $2 million in the United States alone.[28] That same year, thanks to the remarkable progress in her career, she was selected as one of the WAMPAS Baby Stars of 1926, along with fellow newcomers Joan Crawford, Mary Astor, Janet Gaynor, Fay Wray and others.[29] Carewe, with the support of the United Artists directed and produced Resurrection (1927), based on the novel by Leo Tolstoy. Del Río was selected as the heroine and Rod La Rocque starred as leading man.[30] Due to the success of the film, Fox quickly began shooting The Loves of Carmen (also 1927), also directed by Raoul Walsh. Fox Film called her to star in the film No Other Woman (1928), directed by Lou Tellegen. When actress Renée Adorée began to show symptoms of tuberculosis,[31] del Río was selected for the lead role of the MGM film The Trail of '98 (also 1928), directed by Clarence Brown. The film was a huge success and brought favorable reviews from critics. Around the same time, she was hired by United Artists for the third film version of the successful novel Ramona (also 1928), directed by Carewe. The success of the film was helped by the same name musical theme, written by L. Wolfe Gilbert and recorded by del Río. Ramona was the first United Artists film with synchronized sound. In late 1928, Hollywood was concerned with the conversion to sound films. On 29 March, at Mary Pickford's bungalow, United Artists brought together Pickford, del Río, Douglas Fairbanks, Charles Chaplin, Norma Talmadge, Gloria Swanson, John Barrymore, and D. W. Griffith to speak on the radio show The Dodge Brothers Hour to prove they could meet the challenge of talking movies. Del Río surprised the audience by singing "Ramona" proving to be an actress with skills for sound cinema.[32] Although her career blossomed, her personal life was turbulent. Her marriage to Jaime Martínez ended in 1928. The differences between the couple emerged after settling in Hollywood. In Mexico she had been the wife of Jaime Martinez del Rio, but in Hollywood Jaime became husband of a movie star. The trauma of a miscarriage added to the marital difficulties and del Río was advised not to have children. After a brief separation, Dolores filed for divorce. Six months later, she received news that Jaime had died in Germany.[33] 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.[34] Del Rio made her third film with Raoul Walsh, The Red Dance (1928).[35] Her next project was Evangeline (1929) a new production of United Artists also directed by Carewe and inspired by the epic poem by Henry Wadsworth Longfellow. The film was accompanied by a theme song written by Al Jolson and Billy Rose and played by del Río. Like Ramona, the film was released with a Vitaphone disc selection of dialogue, music and sound effects.[36] Edwin Carewe had ambitions to marry del Río, with the intent that they become a famous Hollywood couple. Carewe prepared his divorce from his wife Mary Atkin and seeded false rumors in campaigns of his films. But during the filming of Evangeline, United Artists convinced del Río to separate herself artistically and professionally from Carewe, who still held an exclusive contract with the actress.[37] In New York, following the successful premiere of Evangeline, del Río declared to the reporters: "Mr. Carewe and I are just friends and companions in the art of the cinema. I will not marry Mr. Carewe."[38] Eventually, she canceled her contract with him. Furious, Carewe filed criminal charges against Dolores. Advised by United Artists lawyers, Dolores reached an agreement with Carewe out of court. In spite of this settlement, Carewe started a campaign against her. In order to eclipse her, he filmed a new sound version of Resurrection starring Lupe Velez, another popular Mexican film star and alleged rival of del Río.[39] 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. The film was released in June 1930 with great success. Critics said that del Río could speak and sing in English with a charming accent. She was a suitable star for the talkies.[40] Transition to sound and second marriage (1930–43) In 1930, del Río met Cedric Gibbons, an art director at Metro-Goldwyn-Mayer and one of the most influential men in Hollywood, at a party at Hearst Castle. The couple began a romance and finally married on August 6, 1930.[41] The del Rio-Gibbons were one of the most famous couples of Hollywood in the early thirties. They organized 'Sunday brunches' in their fabulous Art Deco mansion, considered one of the most modern and elegant in the high circles of Hollywood.[42] Shortly after her marriage, del Río fell seriously ill with a severe kidney infection. The doctors recommended long bed rest.[39] When she regained her health, she was hired exclusively by RKO Pictures. Her first film with the studio was Girl of the Rio (1931), directed by Herbert Brenon. Del Río in Bird of Paradise (1932) Producer David O. Selznick called the filmmaker King Vidor and said: "I want del Río and Joel McCrea in a love story in the South Seas. I didn't have much of a story for the film, but be sure that it ends with the young beauty jumping into a volcano."[43] Bird of Paradise (1932) was shot in Hawaii and del Río became a beautiful native. The film premiered on 13 September 1932 in New York, earning rave reviews. Bird of Paradise created a scandal when released due to a scene featuring del Río and McCrea swimming naked. This film was made before the Production Code was strictly enforced, so some degree of nudity in American movies was not unknown.[44][45] As RKO got the result they expected, they quickly decided to have del Rio do another film, a musical comedy directed by Thornton Freeland: Flying Down to Rio (1933). In the film Fred Astaire and Ginger Rogers first appeared as dance partners.[43] It featured del Río opposite Fred Astaire in an intricate dance number called Orchids in the Moonlight. In this film, Del Rio became the first major actress to wear a two-piece women's bathing suit onscreen.[46] But after

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