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Dolores del Río

January 07, 2023

In this Spanish name, the first or paternal surname is Asúnsolo and the second or maternal family name is López Negrete.

María de los Dolores Asúnsolo y López Negrete (3 August 1904[2] – 11 April 1983), known professionally as Dolores del Río (Spanish pronunciation: [doˈloɾez ðel ˈri.o]), was a Mexican actress. 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] Along with a notable career in American cinema during the 1920s and 1930s, she was also considered one of the most important female figures in the Golden Age of Mexican cinema,[7] and one of the most beautiful actresses of her era.[6]

Dolores del Río
Dolores del Río in The Fugitive (1947)
Born
María de los Dolores Asúnsolo y López Negrete[1]

(1904-08-03)3 August 1904
Victoria de Durango, Durango, Mexico
Died11 April 1983(1983-04-11) (aged 78)
Newport Beach, California, U.S.
Resting placeRotonda de las Personas Ilustres, Panteón de Dolores, Mexico City, Mexico
OccupationActress
Years active1925–1978
Spouse(s)
Jaime Martínez del Río
​
​
(m. 1921; div. 1928)​

​
​
(m. 1930; div. 1941)​

Lewis A. Riley
​
(m. 1959)​
PartnerOrson Welles (1940–1943)
Relatives
Signature

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",[8][9] 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.[10] 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).[11] 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.

Del Río is considered a quintessential representation of the female face of Mexico in the world.[12]

Life and career

1904–1925: Childhood and first marriage

 
Commemorative plaque at the house where Dolores del Río was born, located 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,[13][14] was born in Victoria de Durango, Mexico on 3 August 1904,[15] daughter of Jesús 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.[16][17]

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[18] and of actors Ramón Novarro[19] (one of the "Latin Lovers" of the silent cinema) and Andrea Palma[20] (another prominent actress of the Mexican cinema). On her father's side, she was a cousin of the Mexican sculptor Ignacio Asúnsolo[19] and the social activist and model María Asúnsolo.[19][21] Additionally, she was the aunt of the actress Diana Bracho.[22]

 
Dolores Del Río with her mother in 1930

Dolores's family lost all its assets during the Mexican Revolution that spanned from 1910 to 1920. Durango aristocratic families were threatened by the insurrection that Pancho Villa was leading in the region. The Asúnsolo family decided to escape, her father to the United States, and she and her mother to Mexico City on a train, disguised as peasants.[23] 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.[23]

Dolores attended the Collège Français de Saint-Joseph,[24] a college run by French nuns and located in Mexico City.[25] She also developed a great taste for dance, that awakened in her when her mother took her to one of the Russian dancer's Ana Pavlova performances, where she was fascinated by seeing her dance and decided to become a dancer herself.[26] 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 López. 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.[27][28] 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.[29] It was from him that she inherited her artistic surname.[29]

Her honeymoon with Jaime lasted two years and they carried it out traveling through Europe, where in a stop at Spain, Dolores danced for the kings of Spain (Alfonso XIII and Victoria Eugenie), who were fascinated to see her perform a dance performance for the soldiers of the war in Morocco.The kings thanked her deeply and the queen gave her a photograph.[30] Returning to Mexico, Jaime decided to dedicate himself to growing cotton at Hacienda Las Cruces, in Nazas, Durango. However, a resounding fall in the world cotton market in 1924, caused an economic crisis for both and had to settle in Mexico City under the economic protection of their respective families.[31] For her part, she had to sell her jewelry to try to recover a bit of the fortune she had lost with her husband.[32] In addition to this, Dolores arrived pregnant when they returned to the country and had complications that could not be overcome, which caused a miscarriage and after which the doctors recommended not to get pregnant again since it would be very dangerous, taking away the possibility of having children.[33]

1925–1929: Silent films

In early 1925, the painter Adolfo Best Maugard, close friend of Dolores and her husband, visited their home and with him was an American filmmaker Edwin Carewe, an influential director at the First National Pictures, who was in Mexico for the wedding of actors Bert Lytell and Claire Windsor.[34][35] Carewe was fascinated with Del Río and got determined to have her, so he invited the couple to work in Hollywood. He convinced Jaime, saying he could turn his wife into a movie star, "The female equivalent of Rudolph Valentino." Jaime thought that this proposal was a response to their economic needs. Deep down, he could also fulfill his old dream of writing screenplays in Hollywood.[36] Breaking with all the canons of Mexican society at that time and against their families wishes, with the exception of Dolores's mother, they journeyed by train to the United States to start a career in film within that country.[36] They arrived to Hollywood on 27 August of that year, where del Río was contracted by Carewe and he began to act as her agent, manager, producer and director. Her name was shortened to "Dolores Del Rio" (with an incorrect capital "D" in the word "del"). Seeking to get her a wide publicity to get the public's attention,[37] Carewe made a report dedicated to Dolores in the major magazines in Hollywood which said:

"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".[38]

 
Del Río in Joanna (1925)

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.[39] 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. In the same year, Carl Laemmle, the head of Universal Studios, interested in casting del Río to act in the comedy The Whole Town's Talking. 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,[40] a lost film.[41][42]

 
Del Río with Victor McLaglen and Edmund Lowe in What Price Glory? (1926)

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.[43] 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.[44]

In 1927, del Río and Carewe were hired by United Artists for the film Resurrection (1927), based on the novel by Leo Tolstoy. Del Río was selected as the heroine and Rod La Rocque starred as leading man.[45] Due to the success of the film, Fox Film quickly began shooting The Loves of Carmen with del Río and Victor McLaglen in the main roles. The film was also directed by Raoul Walsh. Fox Film also 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,[46] del Río was selected for the lead role of the MGM film The Trail of '98, directed by Clarence Brown. The film was a huge success and brought favorable reviews from critics. Also in 1928, she was hired again by United Artists for the third film version of the successful novel Ramona, directed again 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.[47][48]

Although her career blossomed, her personal life was turbulent. Her marriage to Jaime Martínez ended in 1928. After a brief separation, Dolores filed for divorce. Six months later, she received news that Jaime had died in Germany.[49] 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.[49]

 
Dolores del Río in Evangeline (1929)

Del Rio made her third film with Raoul Walsh, The Red Dance (1928).[50] 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.[51]

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.[52]

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."[53] 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 Vélez, another popular Mexican film star and alleged rival of del Río.[54]

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.[55]

1930–1936: Transition to sound films

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.[56] Shortly after her marriage, del Río fell seriously ill with a severe kidney infection. The doctors recommended long bed rest.[57] This causes the end of her contract with United Artists. When she regained her health, she was hired exclusively by RKO Pictures. Her first film with the studio was Girl of the Rio released in 1931, and directed by Herbert Brenon.

 
Dolores 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."[58] 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 became somewhat controversial due to del Rio's daring costumes, as well as a revealing swimming scene. This film was made before the Production Code was strictly enforced.[59][60]

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 of 1933. In the film, Fred Astaire and Ginger Rogers first appeared as dance partners.[58] 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 on-screen.[61] But after the premiere, RKO were worried about their economic problems and decided not to renew del Río's contract.[4]

Jack Warner offered her a starring role in two films for Warner Bros.[62] The first was the musical comedy Wonder Bar (1934), directed by Lloyd Bacon. Busby Berkeley was the choreographer and Al Jolson her co-star. del Río and Jolson were gradually stealing the show. Dolores's character grew, while the character of Kay Francis, the other female star of the film, was reduced. The film was released in March 1934 and was a success for Warners.[63]

 
Dolores del Río portraying Madame du Barry in Madame Du Barry (1934)

The second one was Madame Du Barry (also 1934) with del Río as star and William Dieterle as director. Dieterle focused on her beauty with the help of an extraordinary cloakroom designed for Dolores by Orry Kelly (considered one of the most beautiful and expensive at the time).[64] But Madame Du Barry was a major cause of dispute between the studio and the Hays Code office, primarily because it presented the court of Louis XV as a sex farce centered around del Rio.[58] The film was severely mutilated by censorship and was not the success which had been anticipated. Even so, the film is considered one of the most popular del Río's films in her period in Hollywood cinema.[65]

In the same year, del Río, along with Ramón Novarro and Lupe Vélez, attended a special screening of the Mexican film ¡Que viva México!. The film was directed by Sergei Eisenstein, and was accused of promoting Communism in California with nationalist sentiment and socialist overtones. It was the first time that del Río was accused of being a communist in the United States, a circumstance that would eventually have consequences in her career inside the American film industry.[66]

 
Del Río with Everett Marshall in I Live for Love (1935). She is wearing an Orry-Kelly gown

Warner called her again in 1935 to star in another musical comedy called In Caliente (1935), where she portrayed a sultry Mexican dancer who has an affair with the character of actor Pat O'Brien. Around the same time, she starred in I Live for Love (also 1935), with Busby Berkeley as a director. The film had dance numbers and Berkeley focused on her glamour with a sophisticated wardrobe. The last film she made with Warners was The Widow from Monte Carlo of 1936, which went unnoticed.[67]

1937–1942: Decline in Hollywood

With the support of Universal Studios, in 1937 del Río filmed The Devil's Playground opposite Chester Morris and Richard Dix. However, despite the popularity of the three stars, the film was a failure. Dolores would decide to emigrate and sign a contract with 20th Century Fox to star in two films with George Sanders. She appeared with him in Lancer Spy of 1937 and International Settlement of 1938. Both films were box-office failures.[67] This cinematographic failures caused her to focus on advertising, becoming known for advertisements in "Lucky Strike" (a cigarettes brand) and "Max Factor" (a makeup brand).[68]

Cedric Gibbons used his influence with Metro-Goldwyn-Mayer and gained for del Río the main female role in the 1940 film The Man from Dakota. But despite his position in the studio, Gibbons was never able to help his wife achieve a higher profile, as the main figures of that company at the time were Greta Garbo, Norma Shearer, Joan Crawford and Jean Harlow. Studio executives admired del Río's beauty, but her career did not interest them, as at the time, Latin stars had few opportunities to shine at the studio.[69] She was put on a list entitled "box office poison", (along with stars like Joan Crawford, Greta Garbo, Katharine Hepburn, Marlene Dietrich, Mae West and others). The list was submitted to Los Angeles newspapers by an independent movie theater whose point was that these stars' high salaries and public prominence did not counteract the low ticket sales for their movies.[70]

Amid the decline of her career, that same year, del Río met actor and filmmaker Orson Welles at a party organized by Darryl Zanuck. The couple felt a mutual attraction and began a discreet affair, which caused the divorce between Dolores and Gibbons.[71] While looking for ways to resume her career, she accompanied Welles in his shows across the United States, works on radio and performances at the Mercury Theatre.[72] del Río was at his side during the filming and controversy of Citizen Kane (1941). The film, considered a masterpiece today, caused a media scandal by directing open criticism against the media magnate William Randolph Hearst, who began to boycott Orson's projects.[73]

 
Del Río with Joseph Cotten in Journey into Fear (1942)

At the beginning of 1942, she started working on Journey into Fear (released in 1943) with Norman Foster as director and Welles as producer. Her relationship with Welles, in the midst of the Citizen Kane scandal, somehow affected her, as her character was drastically reduced in the film. Nelson Rockefeller, in charge of the Good Neighbor policy (and also associated with RKO through his family investments), hired Welles to visit South America as an ambassador of goodwill to counter fascist propaganda about Americans. Welles left the film four days later and traveled to Rio de Janeiro as part of his goodwill tour. Welles, involved in filming the carnival in Rio de Janeiro, behaved promiscuously, and the news came soon to the United States. Offended and outraged, del Río decided to end her relationship with Welles through a telegram that he never answered.[72] Weeks later, her father died in Mexico. Due to these personal and professional crisis, she decided to return to Mexico, commenting:

"Divorced again, without the figure of my father. A film where I barely appeared, and one where they were really showing me the way of the art. I wanted to go the way of the art. Stop being a star and become an actress, and that I could only do in Mexico. I wish to choose my own stories, my own director, and camera man. I can accomplish this better in Mexico. I wanted to return to Mexico, a country that was mine and I did not know. I felt the need to return to my country".[72]

1943–1959: Mexican Cinema

Del Río had been sought by Mexican film directors since the late 1930s. She was considered to star in the Mexican films La Noche de los Mayas and Santa. Of the latter, Orson Welles himself helped correct the script.[74] But economic circumstances were not favorable for the entry of del Río to the Mexican cinema.[75] She also maintained friendly ties with figures of Mexican art and culture (such as Diego Rivera and Frida Kahlo). After breaking off her relationship with Welles, del Río returned to Mexico.[76]

As soon as she returned to her country, del Río begins to listen to movie offers. Mexican filmmaker Emilio "El Indio" Fernández invited her to film Flor silvestre (1943). Fernandez was her great admirer and he was eager to direct her. This was del Río's first Spanish-language film. 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. The film was a huge box office success and allowed del Río to maintain her prestige as an actress.

Subsequently, del Río and Fernández film crew filmed María Candelaria. The film tells the story of a native indigenous woman from the lake region of Xochimilco, who is despised by her people.[77] Fernández has said that he wrote an original version of the plot on 13 napkins while sitting in a restaurant. He was anxious because he was in love with del Río and could not afford to buy her a birthday present.[78] However, there were tense moments during the filming of the film. Fernández could not hide his love for del Río and, faced with her rejection of his advances, he began to be very demanding and violent. Del Río showed great professionalism and finished filming, despite several threats to abandon the film. María Candelaria was 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.[79] For del Rio, the film meant success in her native country.[77]

Her third film with Fernández Las Abandonadas (1944), was a then controversial film where del Río plays a woman who gives up her son and falls into the world of prostitution.[80] The film was about to be banned due to protests from the Mexican army, because the film spoke of a criminal gang infiltrated in the Mexican armed forces. These controversies ensured the film's box office success. She won the Silver Ariel (Mexican Academy Award) as best actress for her role in the film.

Bugambilia (1944) was her fourth movie directed by Fernández. As del Rio did not correspond to the director's love advances, Bugambilia filming became a torture for both and for the rest of the team, who had to endure the mood swings of the director and the constant threats of del Río leaving the film. When the film was completed in January 1945, del Río announced that she would never again work with "El Indio" Fernández.[81]

Del Río filmed La selva de fuego (1945) directed by Fernando de Fuentes. The script of this film came to her in error, because of a confused messaging. The film had been specially created for María Félix, another Mexican movie star of the day. Félix meanwhile, received the script for Dizziness (1946), a film originally created for del Río. When the two stars realized the mistake they refused to return the scripts. Del Río was fascinated by playing a different character which also involved her in daring scenes with the Mexican actor Arturo de Córdova. From this time the press began speculating a strong rivalry between del Río and Felix.[82]

After breaking off her film collaboration with Emilio Fernández, del Río began a film partnership with director Roberto Gavaldón. Del Río plays twin sisters in the film La Otra (1946), her first film under Gavaldón's direction. This film later inspired the movie Dead Ringer, starring Bette Davis in 1964.[83]

 
Dolores del Río in The Fugitive (1947)

In 1947, del Río was invited by the film director John Ford to play the role of an indigenous woman who helps a fugitive priest (Henry Fonda) in the film The Fugitive, an adaptation of the novel The Power and the Glory by Graham Greene.[84] Emilio Fernández also served as associate producer and Gabriel Figueroa was the cinematographer. The movie was filmed in Mexico. Del Río was attacked again for having taken part in what was being called "a communist project".

In the same period, she traveled to Argentina to film Story of a Bad Woman (Historia de una mala mujer, 1948), a film adaptation of the Oscar Wilde's Lady Windermere's Fan, directed by Luis Saslavsky. While shooting in Buenos Aires in 1947, del Río was pursued by none other than First Lady Evita Peron. Peron invited del Río to tea, but del Río declined because of her filmmaking schedule. The next day, the government issued an order that the film industry was to shut down completely so del Río could have tea with Mrs. Peron.[85] Rumors about her involvement in issues linked to communism sounded the alarm in Hollywood. In an interview with Hedda Hopper from Argentina, del Río claimed to be unconcerned about the controversy surrounding The Fugitive. According to Hopper, "Dolores said controversy added millions of pesos to the profit of the picture".[86]

Del Río accepted working again with Emilio Fernández and her film team in the film La Malquerida (1949). The film is based on the novel of the Spanish writer Jacinto Benavente. Del Río gained good notices for her portrayal of Raymunda, a woman confronted by her own daughter for the love of a man. The role of her daughter was played by actress Columba Dominguez. Domínguez was Fernández's new romantic partner, and this situation caused tension on the set and speculation from the press. [87] That year she also met the American millionaire Lewis A. Riley in Acapulco and they started a romance. Del Río was directed again by Roberto Gavaldón in two films: The Little House (La casa chica, 1950) and Desired (Deseada, 1951). That same year, del Río's cousin, activist Maria Asúnsolo, asked her to sign a document for a "conference for the world peace". Del Río never imagined that said document would point her out again as a supporter of international communism.[88]

 
Dolores del Río in a photograph taken by Annemarie Heinrich, c. 1948

Del Río starred in Doña Perfecta (1951), based on the novel by Benito Perez Galdos. For this work she won her second Silver Ariel Award for Best Actress. Gavaldón directed her again in the film El Niño y la Niebla (1953). Her portrayal of an overprotective mother with a mental instability attracted critical acclaim and she was honored with her third Silver Ariel Award.[89]

In 1954, del Río was slated to appear as the wife of Spencer Tracy's character in the 20th Century Fox film Broken Lance. The U.S. government denied her permission to work in the United States, accusing her of being sympathetic to international communism. 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.[4] She was replaced in the film by Katy Jurado. She reacted by sending a letter to the U.S. government, stating:

"I believe that after all this, I have nothing [for which] to reproach myself. I'm a woman who only wants to live in peace with God and with men".[89]

While her situation was being remedied in the United States, del Río accepted the proposal of filming in Spain another adaptation of a novel by Benavente, Señora Ama (1955), directed by her cousin, the filmmaker Julio Bracho. Unfortunately the prevailing censorship in the Spanish cinema caused the film to be seriously truncated during editing.[90]

In 1956, her political situation in the United States was resolved. She began to listen with interest to theatrical offerings. Del Río was already thinking that the play Anastacia of Marcelle Maurette, would be a good choice for her debut.[91] To prepare for this new facet of her career, she engaged the services of Stella Adler as her acting coach. Del Río debuted successfully at the theater on the Falmouth Playhouse in Massachusetts on July 6, 1956 and to continue with a tour of seven other theaters throughout New England.[92][93] She took advantage of her return to the United States and granted an interview to Louella Parsons to make clear her political position: "In Mexico we are worried and fighting against communism."[94] In 1957, she was selected as vice president of the jury of the 1957 Cannes Film Festival. She was the first woman to sit on the jury.[95] In 1957, she debuted in television in the role of a Spanish lady in the American television series Schlitz Playhouse of Stars, with Cesar Romero as co-star.

In 1959, Mexican filmmaker Ismael Rodríguez brought del Río and María Félix together in the film La Cucaracha. The meeting of the two actresses, considered the main female stars of Mexican cinema, was a success at the box office. Although the press speculated that a war would break out between the two actresses, the truth is that the filming went smoothly and both ended up forming friendly ties.[96] That same year, she married Lewis Riley in a private ceremony in New York.[97]

1960–1970: Return to Hollywood, television and theatre

 
Del Río with Elvis Presley in Flaming Star (1960)

Del Río and her husband founded their own production company called Producciones Visuales.[98] and they produced numerous theater projects featuring del Río. Mexican writer Salvador Novo became the translator of her plays. Her first production in Mexico City was Oscar Wilde's Lady Windermere's Fan, which she had made as a film in Argentina a decade earlier. She toured Mexico in the play, an enterprise that was both financially and critically successful, and she later took it to Buenos Aires.[99] In 1958, the play The Road to Rome, would mark the reunion in the theater of the film couple del Río-Pedro Armendáriz. But the temperamental Armendáriz left the project in rehearsals due to differences with the director. He was replaced by another actor, but the project did not prosper and was a failure at the box office.

 
Del Río in Cheyenne Autumn (1964)

Del Río returned to Hollywood after 18 years. 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 appeared in John Ford's Cheyenne Autumn released in 1964.[100] In 1967, the Italian filmmaker Francesco Rosi invited her to be part of the movie More Than a Miracle (also 1967) with Sophia Loren and Omar Sharif. She played Sharif's character's mother.

Throughout the 1960s, del Río produced and starred in Mexico in theater projects such as Ghosts (1962), Dear Liar: A Comedy of Letters (1963), La Voyante (1964) and The Queen and the Rebels (1967)[101]

She also appeared in the TV shows The Dinah Shore Chevy Show (1960), the TV movie The Man Who Bought Paradise (1965), I Spy and Branded (1966). In 1968, del Río first performed on Mexican television in an autobiographical documentary narrated by her.

In 1970, she produced and starred in theater The Lady of the Camellias. The project was originally directed by the Broadway producer José Quintero. However, despite having received a high salary, the producer did not commit to the project and constantly appeared drunk. Del Río and her husband decided to fire him and were legally sued by the director. The matter was cleared up in court and delayed the premiere of the play, which was a great box office success, despite production problems. Del Río was acclaimed at daring to play a 65-year-old Marguerite Gautier.[102] Her last appearance on television was in a 1970 episode of Marcus Welby, M.D..[103]

1970–1983: Philanthropy and cultural ambassador

Since the late 1950s, del Río became a main promoter of the Acapulco International Film Review, serving as host on numerous occasions.[104] In 1966, del Río was co-founder of the Society for the Protection of the Artistic Treasures of Mexico with the philanthropist Felipe García Beraza. The society was responsible for protecting buildings, paintings and other works of art and culture in México.[105]

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. Del Río was responsible for various activities to raise funds for the project and she trained in modern teaching techniques.[106] She served as the president from its founding until 1981. After her death, the day nursery adopted the official name of Estancia Infantil Dolores del Río (The Dolores del Río Day Nursery), and today remains in existence.[95][107]

In 1972, she helped found the Cultural Festival Cervantino in Guanajuato. Her deteriorating health led her to cancel two television projects in 1975. The American television series Who'll See the Children? and Mexican telenovela Ven Amigo. In her work in supporting children she became a spokeswoman of the UNICEF in Latin America and records a series of television commercials for the organization.[108] In 1976 she served as president of the jury in the San Sebastian Film Festival.[109]

In 1978, Dolores makes her last film appearance in the film The Children of Sanchez, directed by Hall Bartlett and starring Anthony Quinn. There she interprets the role of the grandmother. In the same year, the Mexican American Institute of Cultural Relations and the White House gave Dolores a diploma and a silver plaque for her work in cinema as a cultural ambassador of Mexico in the United States. During the ceremony she was remembered as a victim of McCarthyism.[110]

At the age of 76, del Río appeared on the stage of the Palace of Fine Arts theater the evening of October 11, 1981 for a tribute at the 25th San Francisco International Film Festival.[111] During the ceremony, filmmakers Francis Ford Coppola, Mervyn LeRoy and George Cukor spoke, with Cukor declaring del Rio the "First Lady of American Cinema".[112] This was her last known public appearance.[95][113] In 1982, she was awarded the George Eastman Award, given by George Eastman House for distinguished contribution to the art of film.[114]

Beauty

"Hollywood needs a high-society Mexican woman, one who may have been exposed to foreign culture and customs through travel, but who maintains the customs and the traces of the Mexican land. And then, the vulgar and picturesque stereotype, so damaging because it falsities our image, will disappear naturally. This is my goal in Hollywood: All my efforts are turned toward filling this gap in the cinema. If I achieve this it will be the height of my artistic ambition and perhaps I'll give a small glory for Mexico. "I'd love to appear in fine, emotional dramas...and am eager to play in stories concerning my native people, the Mexican race. It is my dearest wish to make fans realize their real beauty, their wonder, their greatness as a people. The vast majority seem to regard Mexicans as a race of bandits, or laborers, dirty, unkempt, and uneducated. My ambition is to show the best that's in my nation".[115][116]

—Del Río commenting about her role as a Mexican woman in Hollywood.

Del Río always projected a special elegance with her beauty, more than just a "Latin bombshell" such as other actresses like Lupe Vélez. Del Rio's intrinsic elegance was apparent even off-screen.[117] Del Río strongly identified with her Mexican heritage despite her growing fame and her transition to "modernity". She also felt strongly about being able to play Mexican roles and bemoaned the fact that she was not cast in them. She never relinquished her Mexican citizenship and said in 1929 (at the height of her popularity) that she wanted "to play a Mexican woman and show what life in Mexico really is. No one has shown the artistic side – nor the social".[118]

Del Río was considered one of the prototypes of female beauty in the 1930s. In 1933, the American film magazine Photoplay conducted a search for "the most perfect female figure in Hollywood", using the criteria of doctors, artists and designers as judges. The "unanimous choice" of these selective arbiters of female beauty was Del Río. The question posed by the search for the magazine and the methodology used to find "the most perfect female figure" reveal a series of parameters that define femininity and feminine beauty at that particular moment in the US history.[119][120] Larry Carr (author of the book More Fabulous Faces) said Del Río's appearance in the early 1930s influenced Hollywood. Women imitated her style of dress and makeup. A new kind of beauty occurred, and Del Río was the forerunner.[121] Dolores Del Rio imitated Joan Crawford’s makeup and hairstyles. Indeed, she even imitated Crawford’s photographic poses. She is also considered the pioneer of the two piece swimsuit.[97][122]

According to Austrian-American filmmaker Josef von Sternberg, stars such as Del Río, Marlene Dietrich, Carole Lombard and Rita Hayworth helped him to define his concept of the glamour in Hollywood.[123]

When Del Río returned to Mexico, she radically changed her image. In Hollywood, she had lost ground to the modernity of the faces. In Mexico, she had the enormous fortune that filmmaker Emilio Fernández emphasized Mexican indigenous features. She did not come to Mexico as the Hollywood "Latin bombshell" transforming her makeup to highlight her indigenous features. Del Río defined the change that her appearance suffered in her native country: "I took off my furs and diamonds, satin shoes and pearl necklaces; all swapped by the shawl and bare feet."[124]

Del Río's contemporaries comment about her image:

 
Del Río is considered a pioneer on wearing the two piece swimsuit later known as the bikini.[125] Here she is posing in a publicity photograph for the film In Caliente (1935) while wearing this type of clothing

American actress Joan Crawford: "Dolores became, and remains, as one of the most beautiful stars in the world".[126]

German-American actress and singer Marlene Dietrich: "Dolores del Río was the most beautiful woman who ever set foot in Hollywood".[127][128][129] “Ah, this is the real beauty. We blondes have to work at it".

Playwright George Bernard Shaw: "The two most beautiful things in the world are the Taj Mahal and Dolores del Río".[130]

Fashion designer Elsa Schiaparelli: "I have seen many beautiful women in here, but none as complete as Dolores del Río!"[131]

Mexican painter Diego Rivera: "The most beautiful, the most gorgeous of the west, east, north and south. I'm in love with her as 40 million Mexicans and 120 million Americans who can't be wrong".[132]

Mexican novelist Carlos Fuentes: "Garbo and Dietrich were women turned into goddesses. Del Río was a goddess about being a woman".[112]

American photographer Jerome Zerbe: "Dolores del Río and Marlene Dietrich are the most beautiful women I've ever photographed".[133]

Australian-American costume designer Orry-Kelly: "I draped her naked body in jersey. She wanted no underpinnings to spoil the line. When I finished draping her she became a Greek goddess as she walked close to the mirror and said, It is beautiful. Gazing into the mirror, she said in a half-whisper, Jesus, I am beautiful. Narcissistic? Probably yes, but she was right. She looked beautiful".[134]

Mexican cinematographer Gabriel Figueroa: "I have had great beauties in front of my camera. But the facial bones of Dolores del Río are incomparable. That has been said many times. What has not been said is that she had a privileged smooth skin, a beautiful brown color and a body really perfect".[135]

American actor and director Orson Welles: "Del Río represented the highest erotic ideal with her performance in the film Bird of Paradise.[60]

Del Río herself commented on her face and image: "Take care of your inner beauty, your spiritual beauty, and that will reflect in your face. We have the face we created over the years. Every bad deed, every bad fault will show on your face. 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."[136]

In 1952, she was awarded the Neiman Marcus Fashion Award and was called the "best-dressed woman in America".[137]

Personal life

She married Jaime Martínez del Río in 1921. Her marriage ended in 1928. The differences between the couple emerged after settling in Hollywood. In Mexico she had been the wife of Jaime Martinez del Río, 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.[49]

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.[56] The del Rio-Gibbons were one of the most famous couples of Hollywood in the early thirties. They organized 'Sunday brunches' in their Art Deco house at 757 Kingman Avenue in the Rustic Canyon neighborhood of Pacific Palisades. Many celebrities would attend and play tennis or swim in the pool including Marlene Dietrich, Greta Garbo, and Cary Grant. [138][139] The couple divorced in 1941.[140]

In 1949 she met the American millionaire Lewis A. Riley in Acapulco. Riley was known in the Hollywood cinema in the forties for being a member of the Hollywood Canteen, an organization created by movie stars to support relief efforts in World War II. At that time Riley was engaged in a torrid affair with Bette Davis.[141] Del Río and Riley started a romance. In 1959, the couple married in New York after ten years of relationship. They remained together until her death in 1983.[97]

Regardless of her marriages, at different times in her life, she was romantically linked with actor Errol Flynn,[142] filmmaker John Farrow,[143] writer Erich Maria Remarque, film producer Archibaldo Burns, and actor Tito Junco.[144] Mexican filmmaker Emilio Fernández was one of her admirers. He said that he had appeared as an extra in several films of Dolores in Hollywood just to be near her. The beauty and elegance of del Río had impressed him deeply. Fernández said: "I fell in love with her, but she always ignored me. I adored her... really I adored her."[145]

Orson Welles

 
Del Río with Orson Welles in 1941

Del Río met actor and filmmaker Orson Welles at a party organized by Darryl Zanuck. The couple felt a mutual attraction and began a discreet affair.[71] Welles was infatuated with her since adolescence. Welles declared: “That’s when I fell in love with her”. He later said: “She changed my life”.[85] Their relationship was kept secret until 1941, when del Río filed for divorce from Cedric Gibbons. They openly appeared together in New York while Welles was directing the Mercury stage production Native Son.[146] After del Río filed for divorce, she threw herself into Welles’ chaotic world, considering his intellect “second to none, not even Shakespeare.” Welles was equally complimentary. “She lives so graciously. Everyone around her loves her. She is the one girl you can be with and not feel the need for conversation. She has a mind full of talk, though, when she wants”. Throughout the filming of Citizen Kane, del Río was often at the difficult Welles’ side, soothing him when he banged his head against the wall and dealing with his insomnia as he abused Dexedrine.[85] They acted together in the movie Journey into Fear (1943).

Her relationship with Welles ended after four years largely due to his infidelities. Welles, involved in filming the carnival in Rio de Janeiro, behaved promiscuously and the news came soon to the United States. Offended and outraged, del Río decided to end her relationship with Welles through a telegram that he never answered.[72] He married later with Rita Hayworth, "The New Dolores del Río of Hollywood".

But Welles never got over her completely, and off and on he went to Mexico in usually fruitless attempts to see her, or sent his children, whom she did receive.[147] Rebecca Welles, the daughter of Welles and Hayworth, expressed her desire to travel to Mexico to meet Dolores on her 18th birthday. In 1962, Dolores received her at her home in Acapulco. After their meeting, Rebecca said: "My father considered Dolores the great love of his life. She is a living legend in the history of my family." According to Rebecca, until the end of his life, Welles felt for del Río a kind of obsession.[148] For the rest of her life del Río kept a card with two beautiful slanted eyes (easily identifiable as Dolores’s own) and a dove drawing along a banner inscribed with the word "always" and signed "Orson".[85]

Alleged rivalries

There are many anecdotes about her rivalry with Lupe Vélez. Del Río never understood the quarrel that Vélez kept with her. Vélez hated del Río, and called her "bird of bad omen". Del Río was terrified to meet her in public places. When this happened, Vélez was scathing and aggressive. Vélez openly mimicked del Río, ironically making fun of her elegance.[149] But the prestige of del Río was known and respected, and Vélez could not ignore this. Vélez wore spectacular costumes, but never reached del Río's supreme elegance. Vélez was popular, had many friends and devoted fans, but never attended the social circle in Hollywood, where del Río was accepted without reservations. Vélez spoke ill of del Río, but del Río never mentioned her name in an offensive way. Vélez evidently resented Del Rio's success during the years in which both met in Hollywood.[150]

There was media speculation about a strong rivalry between Del Rio and María Félix, another diva of the Mexican Cinema.[151] Félix said in her autobiography: "With Dolores I don't have any rivalry. On the contrary. We were friends and we always treated each other with great respect. We were completely different. She [was] refined, interesting, soft on the deal, and I'm more energetic, arrogant and bossy".[82] Félix said in another interview: "Dolores del Río was a great lady. She behaved like a princess. A very intelligent and very funny woman. I appreciate her very much and I have great memories of her".[152]

Death

 
Dolores del Río grave located at Panteón de Dolores in Mexico City

In 1978, she was diagnosed with osteomyelitis, and in 1981, with hepatitis B following a contaminated injection of vitamins.[97] She also suffered from arthritis.[97] In 1982, del Río was admitted to Scripps Hospital, La Jolla, California, where hepatitis led to cirrhosis.[153]

On April 11, 1983, Dolores del Río died from liver failure at the age of 78 in Newport Beach, California.[154] It is said that the day she died, an invitation to attend the Oscars was sent to her.[97][153] She was cremated and her ashes were moved from the United States to Mexico where they were buried at the Panteón de Dolores in Mexico City, Mexico,[97] specifically on The Rotunda of Illustrious Persons.[155]

Legacy

Del Río was the first Mexican actress to succeed in Hollywood. In her wake others followed including Lupe Vélez, Katy Jurado and Lupita Tovar[156] In recent years other Mexican stars that have achieved a place in Hollywood include Salma Hayek,[157] Eiza González,[158] and Adriana Barraza[159]

In art and literature

The physical characteristics of del Río made her a figure of veneration even beyond death. From a young age, del Río had the intelligence to know how to surround herself with personalities of the intellectual environment. The Hollywood myth placed del Río in another area, as she became one of the women related to the renaissance of Mexican culture and customs.

The face of del Río was also the object of veneration for many artists who shaped her image on their canvases. In 1916, when del Río was 11 years old, she was first portrayed by Alfredo Ramos Martínez, a very popular artist among Mexican high society. In the 1920s, del Río was also embodied in the canvases of Mexican painters Roberto Montenegro and Ángel Zárraga. In 1938, the actress was portrayed by her close friend, the famous Mexican artist Diego Rivera. The portrait was made in New York. It was del Río's favorite portrait and occupied a special place in her home in Mexico. Rivera also captured the image of Dolores in some of his paintings and murals, highlighting La vendedorea de flores, La pollera and La Creacion. In this last mural, located in the Colegio de San Ildefonso, in Mexico City, the actress represents "Justice".[160]

 
Photograph taken in 2018 of the sculpture Hollywood and La Brea Gateway located at the Walk of Fame's west end Four Ladies of Hollywood, which includes an statue of Dolores

In 1941, del Río was also portrayed by the famous Mexican muralist José Clemente Orozco. The portrait was made at the request of Orson Welles. Unfortunately, when the artist painted the portrait he was already losing his sight. del Río said: "He painted his tragedy on my face!" Although the portrait was not liked by the actress, it had a very important place in her home. 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.[161][162][163]

In 1970, the Instituto Nacional de Bellas Artes y Literatura, the Mexico's Screen Actors Guild, the Humane Society of the Artistic Treasures of Mexico and the Motion Picture Export Association of America paid her a tribute titled Dolores del Rio in the Art in which her main portraits and a sculpture by Francisco Zúñiga were exhibited.[164]

In her will, del Río stipulated that all her artworks be donated to the National Institute of Fine Arts and Literature of Mexico, for display in various museums in Mexico City, including the National Museum of Art, the Museum of Art Carillo Gil and the Home-Studio of Diego Rivera and Frida Kahlo.[165]

Del Río was the model of the statue of Evangeline, the heroine of Longfellow's romantic poem located in St. Martinville, Louisiana. The statue was donated by del Río, who played Evangeline in the 1929 film.[166]

Poet Salvador Novo wrote her a sonnet and translated all her stage plays. 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". Vicente Leñero was inspired by del Río to write his book, Señora. Carlos Pellicer also wrote her a poem in 1967.[167] In 1982, del Río and Maria Félix were parodied in the novel Orchids in the Moonlight: Mexican Comedy by Carlos Fuentes.[168] Other authors who wrote her poems were Xavier Villaurrutia, Celestino Gorostiza and Pita Amor. 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 book contains an essay by Monsiváis entitled Responsibilities of a face. Vicente Leñero also pays tribute to the book Señora.

After her death, her photo archive was given to the Carso Center for the Study of Mexican History by Lewis Riley.[169]

Memorials

 
Dolores del Río statue in the Chapultepec Park in Mexico City
 
Dolores del Río's star in the Hollywood Walk of Fame
  • She has her star on the Hollywood Walk of Fame at 1630 Vine Street in recognition of her contributions to the motion picture industry.
  • Dolores del Río also has a statue at Hollywood-La Brea Boulevard in Los Angeles, designed by Catherine Hardwicke built to honor the multi-ethnic leading ladies of the cinema together with Mae West, Dorothy Dandridge and Anna May Wong.
  • Del Río has also a mural painted on the east side of Hudson Avenue just north of Hollywood Boulevard painted by the Mexican-American artist Alfredo de Batuc.[170]
  • Del Río is one of the entertainers displayed in the mural "Portrait of Hollywood", designed in 2002 by the artist Eloy Torrez in the Hollywood High School.[171][172]
  • Del Río's memory is honored in three monuments in Mexico City. The first is a statue located in the second section of Chapultepec Park.[173] The other two are busts. One is located in the Parque Hundido.[174] and the other is in the nursery that bears her name.
  • In Durango, Mexico, her hometown, an avenue is named after her, Blvd. Dolores del Río.[175]
  • Since 1983, the society Periodistas Cinematográficos de México (Mexican Film Journalists) (PECIME) has been giving the Diosa de Plata (Dolores del Río) Award for the best dramatic female performance.
  • In 1995, fashion designer John Galliano realized a tribute to del Rio in his Fall /Winter collection Dolores.[176]
  • 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 Rotonda de las Personas Ilustres in Mexico City.[177]
  • On 3 August 2017, the 113th anniversary of her birth, Google released a Google Doodle created by Google artist Sophie Diao honoring Del Río.[178]
  • After her death, actor Vincent Price used to sign his autographs as "Dolores del Río". When asked why, the actor replied: "I promised Dolores on her deathbed that I would not let people forget about her."[179]

Characterizations

Filmography

Main article: Dolores del Río filmography
 
Del Río in Ramona

Selected:

Selected theatre roles:

See also

References

Citations

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Sources

  • Beltrán, Mary (2009). Latina/o stars in U.S. eyes: the making and meanings of film and TV stardom. University of Illinois Press. ISBN 978-0-252-07651-0. Retrieved 17 June 2014.
  • Carr, Larry (1979). More Fabulous Faces: The Evolution and Metamorphosis of Bette Davis, Katharine Hepburn, Dolores del Río, Carole Lombard and Myrna Loy. Doubleday and Company. ISBN 0-385-12819-3.
  • Chandler, Charlotte (2006). The Girl Who Walked Home Alone: Bette Davis, a Personal Biography. Simon and Schuster. ISBN 978-0-7432-8905-4.
  • Félix, María (1993). Todas mis Guerras. Clío. ISBN 9686932089.
  • Franco Dunn, Cinta (2003). Grandes Mexicanos Ilustres: Dolores del Río (Great Illustrious Mexicans: Dolores del Río). México: Promo Libro. ISBN 84-492-0329-5.
  • Hall, Linda (2013). Dolores del Río: Beauty in Light and Shade (1st ed.). Redwood City, California: Stanford University Press. ISBN 978-0-8047-8621-8.
  • Hershfield, Joanne (2000). The invention of Dolores del Río. University of Minnesota. ISBN 0-8166-3410-6.
  • Leaming, Barbara (1985). Orson Welles, A Biography. Viking. ISBN 0-670-52895-1.
  • McNulty, Thomas (2004). Errol Flynn: The Life and Career. McFarland. ISBN 978-0-7864-1750-6.
  • Moreno, Luis (2002). Rostros e Imagenes [Faces and Images]. Editorial Celuloide. ISBN 9789709338904.
  • Noble, Andrea (2005). Mexican National Cinema. Psychology Press. ISBN 978-0-415-23010-0.
  • Price, Victoria (2014). Vincent Price: A Daughter's Biography. Open Road Media. ISBN 978-1-4976-4940-8.
  • Ramón, David (1997a). Dolores del Río vol. 1: Un cuento de hadas [Dolores del Río vol. 1: A Fairy Tale]. Editorial Clío. ISBN 968-6932-36-4.
  • Ramón, David (1997b). Dolores del Río vol. 2: Volver al origen [Dolores del Río vol. 2: Return to the Origin]. Editorial Clío. ISBN 968-6932-37-2.
  • Ramón, David (1997c). Dolores del Río vol. 3: Consagración de una Diva [Dolores del Río vol. 3: Consecration of a Diva]. Editorial Clío. ISBN 968-6932-38-0.
  • Ramón, David (1997). La "Santa" de Orson Welles [Orson Welles "Santa"]. Universidad Nacional Autónoma de México. ISBN 9683621473.
  • Reyes, Luis; Rubie, Peter (1994). Hispanics in Hollywood: An Encyclopedia of Film and Television. Garland. ISBN 0-8153-0827-2.
  • Riva, Maria (1994). Marlene Dietrich. Ballantine Books. ISBN 0-345-38645-0.
  • Torres, José Alejandro (2004). Los Grandes Mexicanos: Dolores del Río [The Greatest Mexicans: Dolores del Río] (in Spanish). México: Grupo Editorial Tomo, S.A. de C.V. ISBN 978-9706669971.
  • Tuñón, Julia (2003). The Cinema of Latin America. Wallflower Press. ISBN 978-0-231-50194-1.
  • Zolov, Eric (2015). Iconic Mexico: An Encyclopedia from Acapulco to Zócalo. New York: ABC-CLIO. ISBN 978-1-61069-044-7. Retrieved 28 March 2016.
Magazines
  • "Dolores del Río: El Rostro del Cine Mexicano" [Dolores del Río: The Face of the Mexican Cinema]. Revista Somos. Editorial Televisa S.A de C.V. 1995.
    • Monsivais, Carlos (1995). "Dolores del Río: El Rostro del Cine Mexicano" [Dolores del Río: The Face of the Mexican Cinema]. SOMOS.[verification needed]
    • Poniatowska, Elena (1995). "Dolores del Río: The Face of the Mexican Cinema". SOMOS.[verification needed]
    • "Dolores del Río: El Rostro del Cine Mexicano". SOMOS. Editorial Televisa. 1995.[verification needed]
    • Dolores del Río: El Rostro del Cine Mexicano, Revista SOMOS México, 1994, ed. Televisa, pp. 70–72[verification needed]
  • "Katy Jurado: Estrella de Hollywood orgullosamente mexicana" [Katy Jurado: Proudly Mexican Hollywood Star]. Revista Somos. Editorial Televisa S.A de C.V. 1999.
  • "Dolores del Río: La Mexicana Divina" [Dolores del Río: The Divine Mexican]. Revista Somos. Editorial Televisa S.A de C.V. 2002.
    • Dolores del Río: La Mexicana Divina, Revista SOMOS México, 2002, ed. Televisa, pg. 71[verification needed]

Further reading

  • Agrasánchez Jr., Rogelio (2001). Bellezas del cine mexicano/Beauties of Mexican Cinema. Archivo Fílmico Agrasánchez. ISBN 968-5077-11-8.
  • Bodeen, DeWitt (1976). From Hollywood: The Careers of 15 Great American Stars. Oak Tree. ISBN 0-498-01346-4.
  • E. Fey, Ingrid., Racine, Karen (2000). Strange Pilgrimages: Exile, Travel, and National Identity in Latin America, 1800–1990s: "So Far from God, So Close to Hollywood: Dolores del Río and Lupe Vélez in Hollywood, 1925–1944". Wilmington, Delaware, Scholarly Resources. ISBN 0-8420-2694-0.
  • L. Woll, Allen (1978). The films of Dolores Del Rio. New York: Gordon Press. ISBN 0-8490-1364-X.
  • Lacob, Adrian (2014). Film Actresses Vol. 23 Dolores del Rio, Part 1. On Demand Publishing, LLC-Create Space. ISBN 978-1-5029-8768-6.
  • Mendible, Myra (2010). From Bananas to Buttocks: The Latina Body in Popular Film and Culture. University of Texas Press. ISBN 978-0-292-77849-8.
  • Molina Guzmán, Isabel (2010). Dangerous Curves: Latina Bodies in the Media. NYU Press. ISBN 978-0-8147-9606-1.
  • Nericcio, William (2007). Tex[t]-Mex: Seductive Hallucinations of the "Mexican" in America. University of Texas Press. ISBN 978-0-292-71457-1.
  • Parish, James Robert (2002). Hollywood divas: the good, the bad, and the fabulous. Contemporary Books. ISBN 978-0-07-140819-6.
  • Parish, James Robert (2008). The Hollywood beauties. Arlington House. ISBN 978-0-87000-412-4.
  • Peña Ovalle, Priscilla (2011). Dance and the Hollywood Latina: Race, Sex, and Stardom. Rutgers University Press. ISBN 978-0-8135-4880-7.
  • Ramón, David (1993). Dolores del Río: Historia de un rostro [Dolores del Río: Story of a Face]. Universidad Nacional Autónoma de México, CCH Dirección Plantel Sur. ISBN 9789686717099.
  • Rivera Viruet, Rafael J.; Resto, Max (2008). Hollywood: Se Habla Español. Terramax Entertainment. ISBN 978-0-9816650-0-9.
  • Rodriguez, Clara E. (2004). Heroes, Lovers, and Others: The Story of Latinos in Hollywood. Oxford University Press. ISBN 0-19-533513-9.
  • Ruíz, Vicki; Sánchez Korrol, Virginia (2006). Latinas in the United States: A Historical Encyclopedia, Volume 1. Indiana University Press. ISBN 0-253-34681-9.
  • Shipman, David (1995). The Great Movie Stars: The Golden Years. Little Brown and Co. ISBN 0-316-78487-7.
  • Taibo, Paco Ignacio (1999). Dolores del Río: mujer en el volcán [Dolores del Río: Woman in the Volcano]. GeoPlaneta, Editorial, S. A. ISBN 9789684068643.
  • Telgen, Diane, Kamp, Jim (1993). Notable Hispanic American Women, Vol. 1. VNR AG,s. ISBN 978-0-8103-7578-9.

External links

 
Wikimedia Commons has media related to Dolores del Río.
  • Dolores del Río at IMDb
  • Dolores del Río at AllMovie
  • at the TCM Movie Database  
  • Dolores del Río at the Cinema of Mexico site of the ITESM (in Spanish)
  • Dolores del Río profile, Virtual-History.com
  • The Dolores del Rio mural 1990 by artist Alfredo de Batuc, 6529 Hollywood Boulevard + Hudson St, Los Angeles, California 29 July 2020 at the Wayback Machine
  • Dolores del Rio statue on Hollywood-La Brea Boulevard 12 June 2009 at the Wayback Machine
  • Photographs of Dolores del Rio

January 07, 2023
dolores, río, this, spanish, name, first, paternal, surname, asúnsolo, second, maternal, family, name, lópez, negrete, maría, dolores, asúnsolo, lópez, negrete, august, 1904, april, 1983, known, professionally, spanish, pronunciation, doˈloɾez, ðel, ˈri, mexic. In this Spanish name the first or paternal surname is Asunsolo and the second or maternal family name is Lopez Negrete Maria de los Dolores Asunsolo y Lopez Negrete 3 August 1904 2 11 April 1983 known professionally as Dolores del Rio Spanish pronunciation doˈloɾez del ˈri o was a Mexican actress 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 Along with a notable career in American cinema during the 1920s and 1930s she was also considered one of the most important female figures in the Golden Age of Mexican cinema 7 and one of the most beautiful actresses of her era 6 Dolores del RioDolores del Rio in The Fugitive 1947 BornMaria de los Dolores Asunsolo y Lopez Negrete 1 1904 08 03 3 August 1904Victoria de Durango Durango MexicoDied11 April 1983 1983 04 11 aged 78 Newport Beach California U S Resting placeRotonda de las Personas Ilustres Panteon de Dolores Mexico City MexicoOccupationActressYears active1925 1978Spouse s Jaime Martinez del Rio m 1921 div 1928 wbr Cedric Gibbons m 1930 div 1941 wbr Lewis A Riley m 1959 wbr PartnerOrson Welles 1940 1943 RelativesRamon Novarro cousin Andrea Palma cousin Julio Bracho cousin SignatureAfter 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 Rio 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 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 Rio returned to Mexico and joined the Mexican film industry which at that time was at its peak When Del Rio returned to her native country she became one of the more important stars of the Golden Age of Mexican cinema 10 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 Maria Candelaria 1943 11 Del Rio 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 Del Rio is considered a quintessential representation of the female face of Mexico in the world 12 Contents 1 Life and career 1 1 1904 1925 Childhood and first marriage 1 2 1925 1929 Silent films 1 3 1930 1936 Transition to sound films 1 4 1937 1942 Decline in Hollywood 1 5 1943 1959 Mexican Cinema 1 6 1960 1970 Return to Hollywood television and theatre 1 7 1970 1983 Philanthropy and cultural ambassador 2 Beauty 3 Personal life 3 1 Orson Welles 3 2 Alleged rivalries 4 Death 5 Legacy 5 1 In art and literature 5 2 Memorials 5 3 Characterizations 6 Filmography 7 See also 8 References 8 1 Citations 8 2 Sources 9 Further reading 10 External linksLife and career Edit1904 1925 Childhood and first marriage Edit Commemorative plaque at the house where Dolores del Rio was born located in Durango City Mexico It reads Dolores del Rio In the history of photography there are two perfect faces hers and Greta Garbo s Maria de los Dolores Asunsolo y Lopez Negrete 13 14 was born in Victoria de Durango Mexico on 3 August 1904 15 daughter of Jesus Leonardo Asunsolo Jacques son of wealthy farmers and director of the Bank of Durango and Antonia Lopez Negrete belonging to one of the richest families in the country whose lineage went back to Spain and the viceregal nobility 16 17 Her parents were members of the Mexican aristocracy that existed during the Porfiriato period in the history of Mexico when the dictator Porfirio Diaz was the president On her mother s side she was a cousin of the filmmaker Julio Bracho 18 and of actors Ramon Novarro 19 one of the Latin Lovers of the silent cinema and Andrea Palma 20 another prominent actress of the Mexican cinema On her father s side she was a cousin of the Mexican sculptor Ignacio Asunsolo 19 and the social activist and model Maria Asunsolo 19 21 Additionally she was the aunt of the actress Diana Bracho 22 Dolores Del Rio with her mother in 1930 Dolores s family lost all its assets during the Mexican Revolution that spanned from 1910 to 1920 Durango aristocratic families were threatened by the insurrection that Pancho Villa was leading in the region The Asunsolo family decided to escape her father to the United States and she and her mother to Mexico City on a train disguised as peasants 23 In 1912 the Asunsolo family reunited in Mexico City and lived under the protection of then president Francisco I Madero who was a cousin of Antonia 23 Dolores attended the College Francais de Saint Joseph 24 a college run by French nuns and located in Mexico City 25 She also developed a great taste for dance that awakened in her when her mother took her to one of the Russian dancer s Ana Pavlova performances where she was fascinated by seeing her dance and decided to become a dancer herself 26 She confirmed her decision later when she witnessed the performances of Antonia Merce 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 Martinez famous painter of the Mexican aristocracy to paint a portrait of her daughter The portrait helped her overcome her insecurities 27 28 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 Martinez del Rio y Vinent 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 29 It was from him that she inherited her artistic surname 29 Her honeymoon with Jaime lasted two years and they carried it out traveling through Europe where in a stop at Spain Dolores danced for the kings of Spain Alfonso XIII and Victoria Eugenie who were fascinated to see her perform a dance performance for the soldiers of the war in Morocco The kings thanked her deeply and the queen gave her a photograph 30 Returning to Mexico Jaime decided to dedicate himself to growing cotton at Hacienda Las Cruces in Nazas Durango However a resounding fall in the world cotton market in 1924 caused an economic crisis for both and had to settle in Mexico City under the economic protection of their respective families 31 For her part she had to sell her jewelry to try to recover a bit of the fortune she had lost with her husband 32 In addition to this Dolores arrived pregnant when they returned to the country and had complications that could not be overcome which caused a miscarriage and after which the doctors recommended not to get pregnant again since it would be very dangerous taking away the possibility of having children 33 1925 1929 Silent films Edit In early 1925 the painter Adolfo Best Maugard close friend of Dolores and her husband visited their home and with him was an American filmmaker Edwin Carewe an influential director at the First National Pictures who was in Mexico for the wedding of actors Bert Lytell and Claire Windsor 34 35 Carewe was fascinated with Del Rio and got determined to have her so he invited the couple to work in Hollywood He convinced Jaime saying he could turn his wife into a movie star The female equivalent of Rudolph Valentino Jaime thought that this proposal was a response to their economic needs Deep down he could also fulfill his old dream of writing screenplays in Hollywood 36 Breaking with all the canons of Mexican society at that time and against their families wishes with the exception of Dolores s mother they journeyed by train to the United States to start a career in film within that country 36 They arrived to Hollywood on 27 August of that year where del Rio was contracted by Carewe and he began to act as her agent manager producer and director Her name was shortened to Dolores Del Rio with an incorrect capital D in the word del Seeking to get her a wide publicity to get the public s attention 37 Carewe made a report dedicated to Dolores in the major magazines in Hollywood which said 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 38 Del Rio in Joanna 1925 She made her film debut in Joanna 1925 directed by Carewe and released that year In the film del Rio plays the role of Carlotta De Silva a vamp of Spanish Brazilian origin but she appeared for only five minutes 39 While continuing with his advertising campaign for del Rio Carewe placed her with a secondary role in the film High Steppers 1926 starring Mary Astor In the same year Carl Laemmle the head of Universal Studios interested in casting del Rio to act in the comedy The Whole Town s Talking 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 40 a lost film 41 42 Del Rio with Victor McLaglen and Edmund Lowe in What Price Glory 1926 The film director Raoul Walsh called del Rio 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 43 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 44 In 1927 del Rio and Carewe were hired by United Artists for the film Resurrection 1927 based on the novel by Leo Tolstoy Del Rio was selected as the heroine and Rod La Rocque starred as leading man 45 Due to the success of the film Fox Film quickly began shooting The Loves of Carmen with del Rio and Victor McLaglen in the main roles The film was also directed by Raoul Walsh Fox Film also called her to star in the film No Other Woman 1928 directed by Lou Tellegen When actress Renee Adoree began to show symptoms of tuberculosis 46 del Rio was selected for the lead role of the MGM film The Trail of 98 directed by Clarence Brown The film was a huge success and brought favorable reviews from critics Also in 1928 she was hired again by United Artists for the third film version of the successful novel Ramona directed again by Carewe The success of the film was helped by the same name musical theme written by L Wolfe Gilbert and recorded by del Rio 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 Rio 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 Rio surprised the audience by singing Ramona proving to be an actress with skills for sound cinema 47 48 Although her career blossomed her personal life was turbulent Her marriage to Jaime Martinez ended in 1928 After a brief separation Dolores filed for divorce Six months later she received news that Jaime had died in Germany 49 As if this were not enough Del Rio had to suffer incessant harassment from her discoverer Edwin Carewe who did not cease in his attempt to conquer her 49 Dolores del Rio in Evangeline 1929 Del Rio made her third film with Raoul Walsh The Red Dance 1928 50 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 Rio Like Ramona the film was released with a Vitaphone disc selection of dialogue music and sound effects 51 Edwin Carewe had ambitions to marry del Rio 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 Rio to separate herself artistically and professionally from Carewe who still held an exclusive contract with the actress 52 In New York following the successful premiere of Evangeline del Rio 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 53 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 Rio 54 Having finally broken off professionally from Carewe del Rio 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 Rio could speak and sing in English with a charming accent She was a suitable star for the talkies 55 1930 1936 Transition to sound films Edit In 1930 del Rio 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 56 Shortly after her marriage del Rio fell seriously ill with a severe kidney infection The doctors recommended long bed rest 57 This causes the end of her contract with United Artists When she regained her health she was hired exclusively by RKO Pictures Her first film with the studio was Girl of the Rio released in 1931 and directed by Herbert Brenon Dolores del Rio in Bird of Paradise 1932 Producer David O Selznick called the filmmaker King Vidor and said I want del Rio 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 58 Bird of Paradise 1932 was shot in Hawaii and del Rio became a beautiful native The film premiered on 13 September 1932 in New York earning rave reviews Bird of Paradise became somewhat controversial due to del Rio s daring costumes as well as a revealing swimming scene This film was made before the Production Code was strictly enforced 59 60 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 of 1933 In the film Fred Astaire and Ginger Rogers first appeared as dance partners 58 It featured del Rio 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 on screen 61 But after the premiere RKO were worried about their economic problems and decided not to renew del Rio s contract 4 Jack Warner offered her a starring role in two films for Warner Bros 62 The first was the musical comedy Wonder Bar 1934 directed by Lloyd Bacon Busby Berkeley was the choreographer and Al Jolson her co star del Rio and Jolson were gradually stealing the show Dolores s character grew while the character of Kay Francis the other female star of the film was reduced The film was released in March 1934 and was a success for Warners 63 Dolores del Rio portraying Madame du Barry in Madame Du Barry 1934 The second one was Madame Du Barry also 1934 with del Rio as star and William Dieterle as director Dieterle focused on her beauty with the help of an extraordinary cloakroom designed for Dolores by Orry Kelly considered one of the most beautiful and expensive at the time 64 But Madame Du Barry was a major cause of dispute between the studio and the Hays Code office primarily because it presented the court of Louis XV as a sex farce centered around del Rio 58 The film was severely mutilated by censorship and was not the success which had been anticipated Even so the film is considered one of the most popular del Rio s films in her period in Hollywood cinema 65 In the same year del Rio along with Ramon Novarro and Lupe Velez attended a special screening of the Mexican film Que viva Mexico The film was directed by Sergei Eisenstein and was accused of promoting Communism in California with nationalist sentiment and socialist overtones It was the first time that del Rio was accused of being a communist in the United States a circumstance that would eventually have consequences in her career inside the American film industry 66 Del Rio with Everett Marshall in I Live for Love 1935 She is wearing an Orry Kelly gown Warner called her again in 1935 to star in another musical comedy called In Caliente 1935 where she portrayed a sultry Mexican dancer who has an affair with the character of actor Pat O Brien Around the same time she starred in I Live for Love also 1935 with Busby Berkeley as a director The film had dance numbers and Berkeley focused on her glamour with a sophisticated wardrobe The last film she made with Warners was The Widow from Monte Carlo of 1936 which went unnoticed 67 1937 1942 Decline in Hollywood Edit With the support of Universal Studios in 1937 del Rio filmed The Devil s Playground opposite Chester Morris and Richard Dix However despite the popularity of the three stars the film was a failure Dolores would decide to emigrate and sign a contract with 20th Century Fox to star in two films with George Sanders She appeared with him in Lancer Spy of 1937 and International Settlement of 1938 Both films were box office failures 67 This cinematographic failures caused her to focus on advertising becoming known for advertisements in Lucky Strike a cigarettes brand and Max Factor a makeup brand 68 Cedric Gibbons used his influence with Metro Goldwyn Mayer and gained for del Rio the main female role in the 1940 film The Man from Dakota But despite his position in the studio Gibbons was never able to help his wife achieve a higher profile as the main figures of that company at the time were Greta Garbo Norma Shearer Joan Crawford and Jean Harlow Studio executives admired del Rio s beauty but her career did not interest them as at the time Latin stars had few opportunities to shine at the studio 69 She was put on a list entitled box office poison along with stars like Joan Crawford Greta Garbo Katharine Hepburn Marlene Dietrich Mae West and others The list was submitted to Los Angeles newspapers by an independent movie theater whose point was that these stars high salaries and public prominence did not counteract the low ticket sales for their movies 70 Amid the decline of her career that same year del Rio met actor and filmmaker Orson Welles at a party organized by Darryl Zanuck The couple felt a mutual attraction and began a discreet affair which caused the divorce between Dolores and Gibbons 71 While looking for ways to resume her career she accompanied Welles in his shows across the United States works on radio and performances at the Mercury Theatre 72 del Rio was at his side during the filming and controversy of Citizen Kane 1941 The film considered a masterpiece today caused a media scandal by directing open criticism against the media magnate William Randolph Hearst who began to boycott Orson s projects 73 Del Rio with Joseph Cotten in Journey into Fear 1942 At the beginning of 1942 she started working on Journey into Fear released in 1943 with Norman Foster as director and Welles as producer Her relationship with Welles in the midst of the Citizen Kane scandal somehow affected her as her character was drastically reduced in the film Nelson Rockefeller in charge of the Good Neighbor policy and also associated with RKO through his family investments hired Welles to visit South America as an ambassador of goodwill to counter fascist propaganda about Americans Welles left the film four days later and traveled to Rio de Janeiro as part of his goodwill tour Welles involved in filming the carnival in Rio de Janeiro behaved promiscuously and the news came soon to the United States Offended and outraged del Rio decided to end her relationship with Welles through a telegram that he never answered 72 Weeks later her father died in Mexico Due to these personal and professional crisis she decided to return to Mexico commenting Divorced again without the figure of my father A film where I barely appeared and one where they were really showing me the way of the art I wanted to go the way of the art Stop being a star and become an actress and that I could only do in Mexico I wish to choose my own stories my own director and camera man I can accomplish this better in Mexico I wanted to return to Mexico a country that was mine and I did not know I felt the need to return to my country 72 1943 1959 Mexican Cinema Edit Del Rio had been sought by Mexican film directors since the late 1930s She was considered to star in the Mexican films La Noche de los Mayas and Santa Of the latter Orson Welles himself helped correct the script 74 But economic circumstances were not favorable for the entry of del Rio to the Mexican cinema 75 She also maintained friendly ties with figures of Mexican art and culture such as Diego Rivera and Frida Kahlo After breaking off her relationship with Welles del Rio returned to Mexico 76 As soon as she returned to her country del Rio begins to listen to movie offers Mexican filmmaker Emilio El Indio Fernandez invited her to film Flor silvestre 1943 Fernandez was her great admirer and he was eager to direct her This was del Rio s first Spanish language film The film gathers a successful film crew consisting of Fernandez the cinematographer Gabriel Figueroa the screenwriter Mauricio Magdaleno and del Rio and Pedro Armendariz as the stars The film was a huge box office success and allowed del Rio to maintain her prestige as an actress Subsequently del Rio and Fernandez film crew filmed Maria Candelaria The film tells the story of a native indigenous woman from the lake region of Xochimilco who is despised by her people 77 Fernandez has said that he wrote an original version of the plot on 13 napkins while sitting in a restaurant He was anxious because he was in love with del Rio and could not afford to buy her a birthday present 78 However there were tense moments during the filming of the film Fernandez could not hide his love for del Rio and faced with her rejection of his advances he began to be very demanding and violent Del Rio showed great professionalism and finished filming despite several threats to abandon the film Maria Candelaria was 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 79 For del Rio the film meant success in her native country 77 Her third film with Fernandez Las Abandonadas 1944 was a then controversial film where del Rio plays a woman who gives up her son and falls into the world of prostitution 80 The film was about to be banned due to protests from the Mexican army because the film spoke of a criminal gang infiltrated in the Mexican armed forces These controversies ensured the film s box office success She won the Silver Ariel Mexican Academy Award as best actress for her role in the film Bugambilia 1944 was her fourth movie directed by Fernandez As del Rio did not correspond to the director s love advances Bugambilia filming became a torture for both and for the rest of the team who had to endure the mood swings of the director and the constant threats of del Rio leaving the film When the film was completed in January 1945 del Rio announced that she would never again work with El Indio Fernandez 81 Del Rio filmed La selva de fuego 1945 directed by Fernando de Fuentes The script of this film came to her in error because of a confused messaging The film had been specially created for Maria Felix another Mexican movie star of the day Felix meanwhile received the script for Dizziness 1946 a film originally created for del Rio When the two stars realized the mistake they refused to return the scripts Del Rio was fascinated by playing a different character which also involved her in daring scenes with the Mexican actor Arturo de Cordova From this time the press began speculating a strong rivalry between del Rio and Felix 82 After breaking off her film collaboration with Emilio Fernandez del Rio began a film partnership with director Roberto Gavaldon Del Rio plays twin sisters in the film La Otra 1946 her first film under Gavaldon s direction This film later inspired the movie Dead Ringer starring Bette Davis in 1964 83 Dolores del Rio in The Fugitive 1947 In 1947 del Rio was invited by the film director John Ford to play the role of an indigenous woman who helps a fugitive priest Henry Fonda in the film The Fugitive an adaptation of the novel The Power and the Glory by Graham Greene 84 Emilio Fernandez also served as associate producer and Gabriel Figueroa was the cinematographer The movie was filmed in Mexico Del Rio was attacked again for having taken part in what was being called a communist project In the same period she traveled to Argentina to film Story of a Bad Woman Historia de una mala mujer 1948 a film adaptation of the Oscar Wilde s Lady Windermere s Fan directed by Luis Saslavsky While shooting in Buenos Aires in 1947 del Rio was pursued by none other than First Lady Evita Peron Peron invited del Rio to tea but del Rio declined because of her filmmaking schedule The next day the government issued an order that the film industry was to shut down completely so del Rio could have tea with Mrs Peron 85 Rumors about her involvement in issues linked to communism sounded the alarm in Hollywood In an interview with Hedda Hopper from Argentina del Rio claimed to be unconcerned about the controversy surrounding The Fugitive According to Hopper Dolores said controversy added millions of pesos to the profit of the picture 86 Del Rio accepted working again with Emilio Fernandez and her film team in the film La Malquerida 1949 The film is based on the novel of the Spanish writer Jacinto Benavente Del Rio gained good notices for her portrayal of Raymunda a woman confronted by her own daughter for the love of a man The role of her daughter was played by actress Columba Dominguez Dominguez was Fernandez s new romantic partner and this situation caused tension on the set and speculation from the press 87 That year she also met the American millionaire Lewis A Riley in Acapulco and they started a romance Del Rio was directed again by Roberto Gavaldon in two films The Little House La casa chica 1950 and Desired Deseada 1951 That same year del Rio s cousin activist Maria Asunsolo asked her to sign a document for a conference for the world peace Del Rio never imagined that said document would point her out again as a supporter of international communism 88 Dolores del Rio in a photograph taken by Annemarie Heinrich c 1948 Del Rio starred in Dona Perfecta 1951 based on the novel by Benito Perez Galdos For this work she won her second Silver Ariel Award for Best Actress Gavaldon directed her again in the film El Nino y la Niebla 1953 Her portrayal of an overprotective mother with a mental instability attracted critical acclaim and she was honored with her third Silver Ariel Award 89 In 1954 del Rio was slated to appear as the wife of Spencer Tracy s character in the 20th Century Fox film Broken Lance The U S government denied her permission to work in the United States accusing her of being sympathetic to international communism 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 4 She was replaced in the film by Katy Jurado She reacted by sending a letter to the U S government stating I believe that after all this I have nothing for which to reproach myself I m a woman who only wants to live in peace with God and with men 89 While her situation was being remedied in the United States del Rio accepted the proposal of filming in Spain another adaptation of a novel by Benavente Senora Ama 1955 directed by her cousin the filmmaker Julio Bracho Unfortunately the prevailing censorship in the Spanish cinema caused the film to be seriously truncated during editing 90 In 1956 her political situation in the United States was resolved She began to listen with interest to theatrical offerings Del Rio was already thinking that the play Anastacia of Marcelle Maurette would be a good choice for her debut 91 To prepare for this new facet of her career she engaged the services of Stella Adler as her acting coach Del Rio debuted successfully at the theater on the Falmouth Playhouse in Massachusetts on July 6 1956 and to continue with a tour of seven other theaters throughout New England 92 93 She took advantage of her return to the United States and granted an interview to Louella Parsons to make clear her political position In Mexico we are worried and fighting against communism 94 In 1957 she was selected as vice president of the jury of the 1957 Cannes Film Festival She was the first woman to sit on the jury 95 In 1957 she debuted in television in the role of a Spanish lady in the American television series Schlitz Playhouse of Stars with Cesar Romero as co star In 1959 Mexican filmmaker Ismael Rodriguez brought del Rio and Maria Felix together in the film La Cucaracha The meeting of the two actresses considered the main female stars of Mexican cinema was a success at the box office Although the press speculated that a war would break out between the two actresses the truth is that the filming went smoothly and both ended up forming friendly ties 96 That same year she married Lewis Riley in a private ceremony in New York 97 1960 1970 Return to Hollywood television and theatre Edit Del Rio with Elvis Presley in Flaming Star 1960 Del Rio and her husband founded their own production company called Producciones Visuales 98 and they produced numerous theater projects featuring del Rio Mexican writer Salvador Novo became the translator of her plays Her first production in Mexico City was Oscar Wilde s Lady Windermere s Fan which she had made as a film in Argentina a decade earlier She toured Mexico in the play an enterprise that was both financially and critically successful and she later took it to Buenos Aires 99 In 1958 the play The Road to Rome would mark the reunion in the theater of the film couple del Rio Pedro Armendariz But the temperamental Armendariz left the project in rehearsals due to differences with the director He was replaced by another actor but the project did not prosper and was a failure at the box office Del Rio in Cheyenne Autumn 1964 Del Rio returned to Hollywood after 18 years 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 appeared in John Ford s Cheyenne Autumn released in 1964 100 In 1967 the Italian filmmaker Francesco Rosi invited her to be part of the movie More Than a Miracle also 1967 with Sophia Loren and Omar Sharif She played Sharif s character s mother Throughout the 1960s del Rio produced and starred in Mexico in theater projects such as Ghosts 1962 Dear Liar A Comedy of Letters 1963 La Voyante 1964 and The Queen and the Rebels 1967 101 She also appeared in the TV shows The Dinah Shore Chevy Show 1960 the TV movie The Man Who Bought Paradise 1965 I Spy and Branded 1966 In 1968 del Rio first performed on Mexican television in an autobiographical documentary narrated by her In 1970 she produced and starred in theater The Lady of the Camellias The project was originally directed by the Broadway producer Jose Quintero However despite having received a high salary the producer did not commit to the project and constantly appeared drunk Del Rio and her husband decided to fire him and were legally sued by the director The matter was cleared up in court and delayed the premiere of the play which was a great box office success despite production problems Del Rio was acclaimed at daring to play a 65 year old Marguerite Gautier 102 Her last appearance on television was in a 1970 episode of Marcus Welby M D 103 1970 1983 Philanthropy and cultural ambassador Edit Since the late 1950s del Rio became a main promoter of the Acapulco International Film Review serving as host on numerous occasions 104 In 1966 del Rio was co founder of the Society for the Protection of the Artistic Treasures of Mexico with the philanthropist Felipe Garcia Beraza The society was responsible for protecting buildings paintings and other works of art and culture in Mexico 105 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 Del Rio was responsible for various activities to raise funds for the project and she trained in modern teaching techniques 106 She served as the president from its founding until 1981 After her death the day nursery adopted the official name of Estancia Infantil Dolores del Rio The Dolores del Rio Day Nursery and today remains in existence 95 107 In 1972 she helped found the Cultural Festival Cervantino in Guanajuato Her deteriorating health led her to cancel two television projects in 1975 The American television series Who ll See the Children and Mexican telenovela Ven Amigo In her work in supporting children she became a spokeswoman of the UNICEF in Latin America and records a series of television commercials for the organization 108 In 1976 she served as president of the jury in the San Sebastian Film Festival 109 In 1978 Dolores makes her last film appearance in the film The Children of Sanchez directed by Hall Bartlett and starring Anthony Quinn There she interprets the role of the grandmother In the same year the Mexican American Institute of Cultural Relations and the White House gave Dolores a diploma and a silver plaque for her work in cinema as a cultural ambassador of Mexico in the United States During the ceremony she was remembered as a victim of McCarthyism 110 At the age of 76 del Rio appeared on the stage of the Palace of Fine Arts theater the evening of October 11 1981 for a tribute at the 25th San Francisco International Film Festival 111 During the ceremony filmmakers Francis Ford Coppola Mervyn LeRoy and George Cukor spoke with Cukor declaring del Rio the First Lady of American Cinema 112 This was her last known public appearance 95 113 In 1982 she was awarded the George Eastman Award given by George Eastman House for distinguished contribution to the art of film 114 Beauty Edit Hollywood needs a high society Mexican woman one who may have been exposed to foreign culture and customs through travel but who maintains the customs and the traces of the Mexican land And then the vulgar and picturesque stereotype so damaging because it falsities our image will disappear naturally This is my goal in Hollywood All my efforts are turned toward filling this gap in the cinema If I achieve this it will be the height of my artistic ambition and perhaps I ll give a small glory for Mexico I d love to appear in fine emotional dramas and am eager to play in stories concerning my native people the Mexican race It is my dearest wish to make fans realize their real beauty their wonder their greatness as a people The vast majority seem to regard Mexicans as a race of bandits or laborers dirty unkempt and uneducated My ambition is to show the best that s in my nation 115 116 Del Rio commenting about her role as a Mexican woman in Hollywood Del Rio always projected a special elegance with her beauty more than just a Latin bombshell such as other actresses like Lupe Velez Del Rio s intrinsic elegance was apparent even off screen 117 Del Rio strongly identified with her Mexican heritage despite her growing fame and her transition to modernity She also felt strongly about being able to play Mexican roles and bemoaned the fact that she was not cast in them She never relinquished her Mexican citizenship and said in 1929 at the height of her popularity that she wanted to play a Mexican woman and show what life in Mexico really is No one has shown the artistic side nor the social 118 Del Rio was considered one of the prototypes of female beauty in the 1930s In 1933 the American film magazine Photoplay conducted a search for the most perfect female figure in Hollywood using the criteria of doctors artists and designers as judges The unanimous choice of these selective arbiters of female beauty was Del Rio The question posed by the search for the magazine and the methodology used to find the most perfect female figure reveal a series of parameters that define femininity and feminine beauty at that particular moment in the US history 119 120 Larry Carr author of the book More Fabulous Faces said Del Rio s appearance in the early 1930s influenced Hollywood Women imitated her style of dress and makeup A new kind of beauty occurred and Del Rio was the forerunner 121 Dolores Del Rio imitated Joan Crawford s makeup and hairstyles Indeed she even imitated Crawford s photographic poses She is also considered the pioneer of the two piece swimsuit 97 122 According to Austrian American filmmaker Josef von Sternberg stars such as Del Rio Marlene Dietrich Carole Lombard and Rita Hayworth helped him to define his concept of the glamour in Hollywood 123 When Del Rio returned to Mexico she radically changed her image In Hollywood she had lost ground to the modernity of the faces In Mexico she had the enormous fortune that filmmaker Emilio Fernandez emphasized Mexican indigenous features She did not come to Mexico as the Hollywood Latin bombshell transforming her makeup to highlight her indigenous features Del Rio defined the change that her appearance suffered in her native country I took off my furs and diamonds satin shoes and pearl necklaces all swapped by the shawl and bare feet 124 Del Rio s contemporaries comment about her image Del Rio is considered a pioneer on wearing the two piece swimsuit later known as the bikini 125 Here she is posing in a publicity photograph for the film In Caliente 1935 while wearing this type of clothing American actress Joan Crawford Dolores became and remains as one of the most beautiful stars in the world 126 German American actress and singer Marlene Dietrich Dolores del Rio was the most beautiful woman who ever set foot in Hollywood 127 128 129 Ah this is the real beauty We blondes have to work at it Playwright George Bernard Shaw The two most beautiful things in the world are the Taj Mahal and Dolores del Rio 130 Fashion designer Elsa Schiaparelli I have seen many beautiful women in here but none as complete as Dolores del Rio 131 Mexican painter Diego Rivera The most beautiful the most gorgeous of the west east north and south I m in love with her as 40 million Mexicans and 120 million Americans who can t be wrong 132 Mexican novelist Carlos Fuentes Garbo and Dietrich were women turned into goddesses Del Rio was a goddess about being a woman 112 American photographer Jerome Zerbe Dolores del Rio and Marlene Dietrich are the most beautiful women I ve ever photographed 133 Australian American costume designer Orry Kelly I draped her naked body in jersey She wanted no underpinnings to spoil the line When I finished draping her she became a Greek goddess as she walked close to the mirror and said It is beautiful Gazing into the mirror she said in a half whisper Jesus I am beautiful Narcissistic Probably yes but she was right She looked beautiful 134 Mexican cinematographer Gabriel Figueroa I have had great beauties in front of my camera But the facial bones of Dolores del Rio are incomparable That has been said many times What has not been said is that she had a privileged smooth skin a beautiful brown color and a body really perfect 135 American actor and director Orson Welles Del Rio represented the highest erotic ideal with her performance in the film Bird of Paradise 60 Del Rio herself commented on her face and image Take care of your inner beauty your spiritual beauty and that will reflect in your face We have the face we created over the years Every bad deed every bad fault will show on your face 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 136 In 1952 she was awarded the Neiman Marcus Fashion Award and was called the best dressed woman in America 137 Personal life EditShe married Jaime Martinez del Rio in 1921 Her marriage 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 Rio 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 49 In 1930 del Rio 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 56 The del Rio Gibbons were one of the most famous couples of Hollywood in the early thirties They organized Sunday brunches in their Art Deco house at 757 Kingman Avenue in the Rustic Canyon neighborhood of Pacific Palisades Many celebrities would attend and play tennis or swim in the pool including Marlene Dietrich Greta Garbo and Cary Grant 138 139 The couple divorced in 1941 140 In 1949 she met the American millionaire Lewis A Riley in Acapulco Riley was known in the Hollywood cinema in the forties for being a member of the Hollywood Canteen an organization created by movie stars to support relief efforts in World War II At that time Riley was engaged in a torrid affair with Bette Davis 141 Del Rio and Riley started a romance In 1959 the couple married in New York after ten years of relationship They remained together until her death in 1983 97 Regardless of her marriages at different times in her life she was romantically linked with actor Errol Flynn 142 filmmaker John Farrow 143 writer Erich Maria Remarque film producer Archibaldo Burns and actor Tito Junco 144 Mexican filmmaker Emilio Fernandez was one of her admirers He said that he had appeared as an extra in several films of Dolores in Hollywood just to be near her The beauty and elegance of del Rio had impressed him deeply Fernandez said I fell in love with her but she always ignored me I adored her really I adored her 145 Orson Welles Edit Del Rio with Orson Welles in 1941 Del Rio met actor and filmmaker Orson Welles at a party organized by Darryl Zanuck The couple felt a mutual attraction and began a discreet affair 71 Welles was infatuated with her since adolescence Welles declared That s when I fell in love with her He later said She changed my life 85 Their relationship was kept secret until 1941 when del Rio filed for divorce from Cedric Gibbons They openly appeared together in New York while Welles was directing the Mercury stage production Native Son 146 After del Rio filed for divorce she threw herself into Welles chaotic world considering his intellect second to none not even Shakespeare Welles was equally complimentary She lives so graciously Everyone around her loves her She is the one girl you can be with and not feel the need for conversation She has a mind full of talk though when she wants Throughout the filming of Citizen Kane del Rio was often at the difficult Welles side soothing him when he banged his head against the wall and dealing with his insomnia as he abused Dexedrine 85 They acted together in the movie Journey into Fear 1943 Her relationship with Welles ended after four years largely due to his infidelities Welles involved in filming the carnival in Rio de Janeiro behaved promiscuously and the news came soon to the United States Offended and outraged del Rio decided to end her relationship with Welles through a telegram that he never answered 72 He married later with Rita Hayworth The New Dolores del Rio of Hollywood But Welles never got over her completely and off and on he went to Mexico in usually fruitless attempts to see her or sent his children whom she did receive 147 Rebecca Welles the daughter of Welles and Hayworth expressed her desire to travel to Mexico to meet Dolores on her 18th birthday In 1962 Dolores received her at her home in Acapulco After their meeting Rebecca said My father considered Dolores the great love of his life She is a living legend in the history of my family According to Rebecca until the end of his life Welles felt for del Rio a kind of obsession 148 For the rest of her life del Rio kept a card with two beautiful slanted eyes easily identifiable as Dolores s own and a dove drawing along a banner inscribed with the word always and signed Orson 85 Alleged rivalries Edit There are many anecdotes about her rivalry with Lupe Velez Del Rio never understood the quarrel that Velez kept with her Velez hated del Rio and called her bird of bad omen Del Rio was terrified to meet her in public places When this happened Velez was scathing and aggressive Velez openly mimicked del Rio ironically making fun of her elegance 149 But the prestige of del Rio was known and respected and Velez could not ignore this Velez wore spectacular costumes but never reached del Rio s supreme elegance Velez was popular had many friends and devoted fans but never attended the social circle in Hollywood where del Rio was accepted without reservations Velez spoke ill of del Rio but del Rio never mentioned her name in an offensive way Velez evidently resented Del Rio s success during the years in which both met in Hollywood 150 There was media speculation about a strong rivalry between Del Rio and Maria Felix another diva of the Mexican Cinema 151 Felix said in her autobiography With Dolores I don t have any rivalry On the contrary We were friends and we always treated each other with great respect We were completely different She was refined interesting soft on the deal and I m more energetic arrogant and bossy 82 Felix said in another interview Dolores del Rio was a great lady She behaved like a princess A very intelligent and very funny woman I appreciate her very much and I have great memories of her 152 Death Edit Dolores del Rio grave located at Panteon de Dolores in Mexico City In 1978 she was diagnosed with osteomyelitis and in 1981 with hepatitis B following a contaminated injection of vitamins 97 She also suffered from arthritis 97 In 1982 del Rio was admitted to Scripps Hospital La Jolla California where hepatitis led to cirrhosis 153 On April 11 1983 Dolores del Rio died from liver failure at the age of 78 in Newport Beach California 154 It is said that the day she died an invitation to attend the Oscars was sent to her 97 153 She was cremated and her ashes were moved from the United States to Mexico where they were buried at the Panteon de Dolores in Mexico City Mexico 97 specifically on The Rotunda of Illustrious Persons 155 Legacy EditDel Rio was the first Mexican actress to succeed in Hollywood In her wake others followed including Lupe Velez Katy Jurado and Lupita Tovar 156 In recent years other Mexican stars that have achieved a place in Hollywood include Salma Hayek 157 Eiza Gonzalez 158 and Adriana Barraza 159 In art and literature Edit The physical characteristics of del Rio made her a figure of veneration even beyond death From a young age del Rio had the intelligence to know how to surround herself with personalities of the intellectual environment The Hollywood myth placed del Rio in another area as she became one of the women related to the renaissance of Mexican culture and customs The face of del Rio was also the object of veneration for many artists who shaped her image on their canvases In 1916 when del Rio was 11 years old she was first portrayed by Alfredo Ramos Martinez a very popular artist among Mexican high society In the 1920s del Rio was also embodied in the canvases of Mexican painters Roberto Montenegro and Angel Zarraga In 1938 the actress was portrayed by her close friend the famous Mexican artist Diego Rivera The portrait was made in New York It was del Rio s favorite portrait and occupied a special place in her home in Mexico Rivera also captured the image of Dolores in some of his paintings and murals highlighting La vendedorea de flores La pollera and La Creacion In this last mural located in the Colegio de San Ildefonso in Mexico City the actress represents Justice 160 Photograph taken in 2018 of the sculpture Hollywood and La Brea Gateway located at the Walk of Fame s west end Four Ladies of Hollywood which includes an statue of Dolores In 1941 del Rio was also portrayed by the famous Mexican muralist Jose Clemente Orozco The portrait was made at the request of Orson Welles Unfortunately when the artist painted the portrait he was already losing his sight del Rio said He painted his tragedy on my face Although the portrait was not liked by the actress it had a very important place in her home 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 161 162 163 In 1970 the Instituto Nacional de Bellas Artes y Literatura the Mexico s Screen Actors Guild the Humane Society of the Artistic Treasures of Mexico and the Motion Picture Export Association of America paid her a tribute titled Dolores del Rio in the Art in which her main portraits and a sculpture by Francisco Zuniga were exhibited 164 In her will del Rio stipulated that all her artworks be donated to the National Institute of Fine Arts and Literature of Mexico for display in various museums in Mexico City including the National Museum of Art the Museum of Art Carillo Gil and the Home Studio of Diego Rivera and Frida Kahlo 165 Del Rio was the model of the statue of Evangeline the heroine of Longfellow s romantic poem located in St Martinville Louisiana The statue was donated by del Rio who played Evangeline in the 1929 film 166 Poet Salvador Novo wrote her a sonnet and translated all her stage plays She inspired Jaime Torres Bodet s novel La Estrella de Dia Star of the Day published in 1933 which chronicles the life of an actress named Piedad Vicente Lenero was inspired by del Rio to write his book Senora Carlos Pellicer also wrote her a poem in 1967 167 In 1982 del Rio and Maria Felix were parodied in the novel Orchids in the Moonlight Mexican Comedy by Carlos Fuentes 168 Other authors who wrote her poems were Xavier Villaurrutia Celestino Gorostiza and Pita Amor Carlos Monsivais and Jorge Ayala Blanco also made her a tribute book on the occasion of the Ibero American Film Festival of Huelva in 1983 The book contains an essay by Monsivais entitled Responsibilities of a face Vicente Lenero also pays tribute to the book Senora After her death her photo archive was given to the Carso Center for the Study of Mexican History by Lewis Riley 169 Memorials Edit Dolores del Rio statue in the Chapultepec Park in Mexico City Dolores del Rio s star in the Hollywood Walk of Fame She has her star on the Hollywood Walk of Fame at 1630 Vine Street in recognition of her contributions to the motion picture industry Dolores del Rio also has a statue at Hollywood La Brea Boulevard in Los Angeles designed by Catherine Hardwicke built to honor the multi ethnic leading ladies of the cinema together with Mae West Dorothy Dandridge and Anna May Wong Del Rio has also a mural painted on the east side of Hudson Avenue just north of Hollywood Boulevard painted by the Mexican American artist Alfredo de Batuc 170 Del Rio is one of the entertainers displayed in the mural Portrait of Hollywood designed in 2002 by the artist Eloy Torrez in the Hollywood High School 171 172 Del Rio s memory is honored in three monuments in Mexico City The first is a statue located in the second section of Chapultepec Park 173 The other two are busts One is located in the Parque Hundido 174 and the other is in the nursery that bears her name In Durango Mexico her hometown an avenue is named after her Blvd Dolores del Rio 175 Since 1983 the society Periodistas Cinematograficos de Mexico Mexican Film Journalists PECIME has been giving the Diosa de Plata Dolores del Rio Award for the best dramatic female performance In 1995 fashion designer John Galliano realized a tribute to del Rio in his Fall Winter collection Dolores 176 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 Rotonda de las Personas Ilustres in Mexico City 177 On 3 August 2017 the 113th anniversary of her birth Google released a Google Doodle created by Google artist Sophie Diao honoring Del Rio 178 After her death actor Vincent Price used to sign his autographs as Dolores del Rio When asked why the actor replied I promised Dolores on her deathbed that I would not let people forget about her 179 Characterizations Edit Chester Gould the creator of Dick Tracy took Dolores del Rio as inspiration to create Texie Garcia one of Tracy s main enemies She appeared in vintage footage in the Woody Allen s film Zelig 1983 She was played by the actress Lucy Cohu in the TV film RKO 281 in 1999 Del Rio is one of the Mexican celebrities honored in a cameo in the Disney Pixar animated movie Coco in 2017 180 181 She was played by the actress Elsa Ortiz in the streaming series Maria Felix La Dona produced by TelevisaUnivision 182 Filmography EditMain article Dolores del Rio filmography Del Rio in Ramona Selected Joanna 1925 What Price Glory 1926 Resurrection 1927 The Loves of Carmen 1927 Ramona 1928 Evangeline 1929 Bird of Paradise 1932 Flying Down to Rio 1933 Wonder Bar 1934 Madame Du Barry 1934 In Caliente 1935 Devil s Playground 1937 Journey Into Fear 1943 Wild Flower 1943 Maria Candelaria 1943 Las Abandonadas 1944 Bugambilia 1944 La Otra 1946 The Fugitive 1947 The Unloved Woman 1949 Dona Perfecta 1951 El Nino y la niebla 1953 La Cucaracha 1959 Flaming Star 1960 Cheyenne Autumn 1964 More Than a Miracle 1967 The Children of Sanchez 1978 Selected theatre roles Anastacia 1956 Lady Windermere s Fan 1958 The Road to Rome 1959 Ghosts 1962 Dear Liar A Comedy of Letters 1963 The Lady of the Camellias 1968 See also Edit Biography portal Film portal Mexico portalReferences EditCitations Edit Sabes quien es Maria de los Dolores Asunsolo y Lopez Negrete ElEdomexInforma in Spanish 11 April 2019 Retrieved 13 July 2021 Jarlson Gary Thackery Jr Ted 13 April 1983 Dolores Del Rio Exotic Queen of Films Dies Los Angeles Times Retrieved 2 April 2020 Hall 2013 p 3 a b c Mulcahey Martin 29 December 2011 The First Latina to Conquer Hollywood Film International Archived from the original on 25 June 2014 Retrieved 19 July 2016 The Face of Deco Dolores Del Rio Archived 2016 01 07 at the Wayback Machine Screendeco wordpress com May 18 2012 a b Dolores Del Rio Turner Classic Movies Archived from the original on 26 July 2015 Zolov 2015 p 260 Hall 2013 p 2 Hall 2013 p 15 Cocking Lauren 17 November 2016 The Golden Age Of Mexican Cinema A Short History in Culture Trip Retrieved 9 March 2022 Mastrangelo Bob Maria Candelaria Reviews on TV Guide Retrieved 9 March 2022 DurangoMas Dolores del Rio biography Dolores del Rio Maria de los Dolores Asunsolo y Lopez Negrete de Martinez del Rio catarina in Spanish 3 March 2021 Retrieved 15 July 2021 Cisneros Calzada Fortino 4 August 2017 Dolores Asunsolo y Lopez Negrete El Manana Retrieved 15 July 2021 Beltran 2009 p 23 Ramon 1997a vol 1 p 10 Torres 2004 p 11 Ortiz Bulle Goyri Alejandro Julio Bracho elem in Spanish Retrieved 13 July 2021 a b c Pantoja Vic 13 October 2020 Curiosidades de Dolores del Rio un icono latino en Hollywood culturizando in Spanish Retrieved 13 July 2021 Rodriguez Sayra 26 May 2020 Andrea Palma sola y abandonada deja de existir la primera diva del cine mexicano Show in Spanish Retrieved 13 July 2021 Asunsolo Moran Maria Enciclopediagro org 24 February 2012 Archived from the original on 11 September 2016 Retrieved 16 September 2016 La gran familia de artistas famosos Impacto Latino 10 September 2015 Retrieved 13 July 2021 a b Ramon 1997a vol 1 p 11 colegio frances full citation needed Cleer Alida 3 August 2017 Dolores del Rio reconocida por Google Doodle 5 Datos Importantes que tienes que saber ahoramismo in Spanish Retrieved 15 July 2021 Dolores del Rio icono mexicano de belleza talento y estilo academiadelamoda in Spanish 7 February 2021 Retrieved 15 July 2021 Ramon 1997a vol 1 p 12 Dolores del Rio a los 11 anos de Edad mexicana cultura gob in Spanish Retrieved 15 July 2021 a b Sabes quien es Dolores del Rio hotelplayamazatlan in Spanish Retrieved 15 July 2021 Diaz de la Vega Alonso 25 July 2018 Dolores del Rio El triunfo de la introspeccion moreliafilmfest in Spanish Retrieved 15 July 2021 Ventura Chavez Nazareth 3 August 2020 Dolores del Rio la diva Hollywoodense que tenia un sillon para ser venerada pacozea Retrieved 15 July 2021 Contando historias Dolores del Rio parte II W Radio in Spanish 14 November 2019 Retrieved 16 July 2021 Aguirre Coral 7 April 2019 Dolores del Rio Milenio Retrieved 15 July 2021 Franco Dunn 2003 p 11 Dolores del Rio Biografias y Vidas biografiasyvidas in Spanish Retrieved 16 July 2021 a b Ramon 1997a vol 1 p 16 Dolores del Rio cine cinemexicano mty itesm mx in Spanish Archived from the original on 21 June 2015 Retrieved 29 May 2014 Torres 2004 p 22 Ramon 1997a vol 1 p 25 Ramon 1997a vol 1 p 26 The Library of Congress FIAF American Silent Feature Film Survival Catalog Pals First Pals First at Arne Andersen s Lost Film Files lost 1926 First National films Franco Dunn 2003 p 24 Ramon 1997a vol 1 p 27 Ramon 1997a vol 1 p 28 Ramon 1997a vol 1 p 33 Ramon 1997a vol 1 p 34 Listen In on the DODGE HOUR St Louis Globe Democrat 29 March 1928 Retrieved 27 May 2020 a b c Ramon 1997a vol 1 pp 36 37 The Red Dance 1928 at the American Film Institute Catalog Evangeline Broadway at the Park Theatre Archived 22 October 2012 at the Wayback Machine IBDb com accessed 19 July 2016 Ramon 1997a vol 1 p 36 Torres 2004 p 32 Ramon 1997a vol 1 p 46 Ramon 1997a vol 1 p 39 a b Ramon 1997a vol 1 pp 43 45 Ramon 1997a vol 1 pg 46 a b c Ramon 1997a vol 1 p 47 History of Sex in Cinema The Greatest and Most Influential Sexual Films and Scenes 1932 amc filmsite Archived from the original on 22 February 2011 a b Dolores Del Rio Bird of Paradise 1932 12 May 2010 Archived from the original on 8 July 2011 History of Sex in Cinema The Greatest and Most Influential Sexual Films and Scenes 1933 amc filmsite Ramon 1997a vol 1 p 48 Ramon 1997a vol 1 p 49 Ramon 1997a vol 1 p 54 Ramon 1997a vol 1 pp 53 54 Ramon 1997a vol 1 pp 51 52 a b Ramon 1997a vol 1 pp 54 55 Dolores del Rio la belleza y el talento mexicano que se gano a Hollywood notimerica in Spanish 3 August 2017 Retrieved 13 July 2021 Monsivais 1995 p 35 verification needed Dolores del Rio in Hollywood Austinfilm org Archived from the original on 24 December 2013 Retrieved 17 June 2014 a b Ramon 1997a vol 1 p 57 a b c d Ramon 1997a vol 1 p 61 Ramon 1997a vol 1 p 59 Ramon David 1997 La Santa de Orson Welles ISBN 9683621473 Retrieved 11 March 2022 Ramon 1997b vol 2 p 10 Curiosidades de Dolores del Rio Mexico mx in Spanish 6 April 2018 Retrieved 14 May 2018 a b Cine en Espanol Maria Candelaria on Golden Globe Awards in Spanish Retrieved 11 March 2022 Tunon 2003 pp 45 46 Festival de Cannes Official Selection 1946 Archived 3 October 2009 at the Wayback Machine Ciclo Cine Debate Las abandonadas on Direccion de Estudios Historicos del Instituto Nacional de Antropologia e Historia in Spanish Retrieved 11 March 2022 Bugambilia 1944 cinemexicano mty itesm mx Archived from the original on 14 April 2016 Retrieved 10 October 2016 a b Felix 1993 p 84 Chandler 2006 p 324 Ramon 1997b vol 2 p 28 a b c d Hall Meares Hadley 17 May 2021 The Enchantress Dolores del Rio s Spellbinding Life on Vanity Fair Vanity Fair Retrieved 9 March 2022 B Hall Linda 2013 Dolores del Rio Beauty in Light and Shade Stanford University Press p 249 ISBN 9780804786218 Ramon 1997b vol 2 pp 30 31 Ramon 1997b vol 2 p 38 a b Ramon 1997b vol 2 p 45 Ramon 1997b vol 2 pp 44 45 Hall 2013 p 265 Ramon 1997b vol 2 pp 48 49 Hall 2013 p 266 Ramon 1997b vol 2 p 56 a b c Ramon 1997b vol 2 pp 49 50 Barrios Carlos La guerra entre Maria Felix y Dolores del Rio que pocos conocian on Debate com in Spanish a b c d e f g Nidia Martinez de Leon 10 April 2018 35 anos sin la estrella mexicana Dolores del Rio Vanguardia in Spanish Retrieved 13 May 2018 Ramon 1997c vol 3 p 16 Hall 2013 p 267 Ramon 1997c vol 3 pp 14 15 Ramon 1997c vol 3 pp 25 28 Dolores del Rio la belleza y el talento mexicano que se gano a Hollywood Europa Press in Spanish 3 August 2017 Retrieved 14 May 2018 Ramon 1997c vol 3 pp 32 35 Ramon 1997b vol 2 p 58 Ramon 1997c vol 3 p 20 Ramon 1997c vol 3 pp 36 37 Ramon 1997c vol 3 pp 37 39 Ramon 1997c vol 3 p 46 Ramon 1997c vol 3 p 48 Ramon 1997c vol 3 pp 50 51 Miguel Pendas Delores del Rio Charmed Audiences For Over 50 Years San Francisco Film Festival Archived from the original on 25 October 2016 a b Campbell Federico 16 April 1983 SU PIEL LA CERCANIA DEL INCIENSO SUS OJOS LA HERIDA LIQUIDA DE LA OBSIDIANA CARLOS FUENTES Proceso in Spanish Archived from the original on 25 October 2016 Ramon 1997c vol 3 p 54 Ramon 1997c vol 3 p 60 Lopez Ana M 1998 From Hollywood and Back Dolores del Rio a trans national star Studies in Latin American Popular Culture 17 ISSN 0730 9139 Archived from the original on 3 April 2016 Carr 1979 p 42 Franco Dunn 2003 pp 21 22 Carr 1979 p 32 Hershfield 2000 p 9 Gray Emma 22 April 2013 Dolores del Rio Mexican Movie Star Was Photoplay s Best Figure In Hollywood In 1931 PHOTOS Huffington Post Archived from the original on 25 October 2016 Carr 1979 p 229 Sex in Cinema 1933 Greatest and Most Influential Erotic Sexual Films and Scenes www filmsite org Lazaro Sarmiento 16 April 2013 Dolores del Rio Buena suerte viviendo in Spanish Archived from the original on 3 December 2013 Retrieved 17 June 2014 Poniatowska 1995 p 24 verification needed Lopez Alberto 3 August 2017 Dolores del Rio la primera actriz hispanoamericana que conquisto Hollywood El Pais in Spanish Retrieved 5 March 2022 Ramon 1997c vol 3 pp 19 20 Ramon 1997a vol 1 p 53 Riva 1994 pp 489 675 Hall 2013 p 4 Dolores del Rio 1905 1983 The Red List Archived from the original on 11 October 2016 Editorial Televisa 1995 p 26 verification needed Vargas Rafael 7 May 2015 Dos o tres episodios mexicanos de Orson Welles Nexos in Spanish Archived from the original on 16 August 2016 Retrieved 16 September 2016 Luis Albo Cafe Society y las Noches de Nueva York Dolores del Rio in Spanish Artes e Historia Mexico Archived from the original on 4 August 2007 Retrieved 16 September 2016 Christian Esquevin 20 September 2016 Orry Kelly Women He s undressed Silver Screen Modes Archived from the original on 15 August 2017 Luis de la Barreda Solorzano 4 June 2004 Dolores del Rio Cronica com mx Dolores del Rio The Face of Deco Hometowns to Hollywood 12 July 2016 Idalia Maria 1948 Dolores del Rio se retira del cine Cinema Reporter No 290 p 11 lmharnisch 27 January 2014 Mary Mallory Hollywood Heights The Gibbons Del Rio House Like Stepping Into a Dream Retrieved 18 May 2022 Ramon 1997a vol 1 p 56 Dolores del Rio gets Hollywood Divorce New York Times Archive 18 January 1941 p 18 Retrieved 10 August 2022 Ramon 1997b vol 2 pp 35 36 McNulty 2004 p 32 Secret Marriage Denial The Barrier Miner Broken Hill NSW National Library of Australia 25 October 1932 p 1 Retrieved 3 March 2012 Raquel Peguero 3 August 2004 Dolores del Rio su vida un cuento de hadas in Spanish El Universal Retrieved 15 May 2018 Franco Dunn 2003 p 79 Leaming Barbara 1985 Orson Welles A Biography Viking ISBN 0 670 52895 1 B Hall Linda 2013 Dolores del Rio Beauty in Light and Shade Stanford University Press p 203 ISBN 9780804786218 Ramon 1997c vol 3 p 11 Moreno 2002 p 138 Moreno 2002 pp 138 141 Ramon 1997b vol 2 pp 51 52 Maria Felix speaks about Dolores del Rio in an interview Archived from the original on 18 November 2021 Retrieved 19 July 2016 via Youtube com a b Ramon 1997b vol 2 pp 58 59 Javier Garcia Java 11 April 2018 Hoy se cumplen 35 anos del fallecimiento de la actriz Dolores del Rio El Sol de Mexico in Spanish Retrieved 14 May 2018 Cesar Romero 6 September 2016 Panteon Civil de Dolores y Rotonda de las Personas Ilustres Go app mx in Spanish Retrieved 15 May 2018 Lupita Tovar la actriz mexicana que deja su legado en Hollywood Univision in Spanish 15 November 2016 Retrieved 12 July 2021 Salma Hayek La gente se reia de mi por querer hacer una carrera en Hollywood Pero estaba convencida Sabia que era muy dificil Vanity Fair in Spanish 14 December 2017 Retrieved 12 July 2021 Para mis mexicanos Eiza Gonzalez entre las estrellas mas taquilleras de Hollywood Milenio in Spanish 30 May 2021 Retrieved 12 July 2021 Ayuso Rocio 23 April 2020 Adriana Barraza Babel me dio la posibilidad de vivir como actriz Golden Globe Awards in Spanish Retrieved 12 July 2021 Diego Rivera 1886 1957 La Creacion 1922 sanildefonso in Spanish Retrieved 12 July 2021 Tomas Delclos 13 April 1983 Muere Dolores del Rio la actriz mexicana que enamoro a Hollywood El Pais in Spanish Retrieved 14 May 2018 Ramon 1997c vol 3 p 36 Merry MacMasters Covarrubias veia el mundo como una acumulacion de culturas Juan Coronel La Jornada in Spanish Archived from the original on 25 October 2016 Ramon 1997c vol 3 p 38 Editorial Televisa 2002 p 71 verification needed Williams Cecil B Henry Wadsworth Longfellow New York Twayne Publishers Inc 1964 pp 155 56 Ramon 1997c vol 3 pp 26 27 Editorial Televisa 1995 pp 70 72 verification needed Exhiben 55 fotografias ineditas de Dolores del Rio en el Soumaya La Jornada in Spanish 23 July 2010 Retrieved 12 July 2021 Alfredo de Batuc Mural Conservancy of Los Angeles Archived from the original on 20 August 2008 Retrieved 19 August 2010 a href Template Cite web html title Template Cite web cite web a CS1 maint unfit URL link Deoima Kayte Hollywood High School About com Archived from the original on 15 January 2011 Retrieved 23 March 2010 Johnson Reed 12 October 2003 A marriage as a work of art Eloy Torrez paints with intensity Margarita Guzman assists with a sense of calm But it was her brush with death that helped him see his work in a new light Sunday Calendar Part E Calendar Desk Los Angeles Times p E48 Archived from the original on 30 January 2018 Retrieved 23 March 2010 HOLLYWOOD HIGH Eloy Torrez and his mural on an east facing wall of the Fandino Cesar 14 October 2011 Estatua de Dolores del Rio in Spanish Archived from the original on 8 November 2016 Retrieved 16 September 2016 via Flickr Victor Adrian Espinosa 24 June 2011 Develan busto de Dolores del Rio en Parque Hundido El Universal in Spanish Archived from the original on 17 October 2016 Retrieved 16 September 2016 Blvd dolores del rio Durango Yotellevo mx Archived from the original on 14 October 2016 Retrieved 16 September 2016 Dress fall winter 1995 96 by John Galliano in The Met The Met Retrieved 14 October 2021 Madrigal Alex 29 November 2006 Dolores del Rio a la Rotonda El Universal in Spanish Archived from the original on 25 October 2016 Wade Sheridan 3 August 2017 Google honors actress Dolores del Rio with new Doodle Archived from the original on 3 August 2017 Price 2014 p 372 Duranguense Dolores del Rio homenajeada en COCO de Pixar Duranguense Dolores del Rio honored in Pixar s COCO Movieland in Spanish 23 November 2017 Simoa 5 February 2018 Coco deleted scene Celebrity tour PixarPlanet Fermin Apolonio Emma Elsa ortiz played Dolores del Rio in La Dona new series by Vix on Chispa TV Retrieved 22 July 2022 Sources Edit Beltran Mary 2009 Latina o stars in U S eyes the making and meanings of film and TV stardom University of Illinois Press ISBN 978 0 252 07651 0 Retrieved 17 June 2014 Carr Larry 1979 More Fabulous Faces The Evolution and Metamorphosis of Bette Davis Katharine Hepburn Dolores del Rio Carole Lombard and Myrna Loy Doubleday and Company ISBN 0 385 12819 3 Chandler Charlotte 2006 The Girl Who Walked Home Alone Bette Davis a Personal Biography Simon and Schuster ISBN 978 0 7432 8905 4 Felix Maria 1993 Todas mis Guerras Clio ISBN 9686932089 Franco Dunn Cinta 2003 Grandes Mexicanos Ilustres Dolores del Rio Great Illustrious Mexicans Dolores del Rio Mexico Promo Libro ISBN 84 492 0329 5 Hall Linda 2013 Dolores del Rio Beauty in Light and Shade 1st ed Redwood City California Stanford University Press ISBN 978 0 8047 8621 8 Hershfield Joanne 2000 The invention of Dolores del Rio University of Minnesota ISBN 0 8166 3410 6 Leaming Barbara 1985 Orson Welles A Biography Viking ISBN 0 670 52895 1 McNulty Thomas 2004 Errol Flynn The Life and Career McFarland ISBN 978 0 7864 1750 6 Moreno Luis 2002 Rostros e Imagenes Faces and Images Editorial Celuloide ISBN 9789709338904 Noble Andrea 2005 Mexican National Cinema Psychology Press ISBN 978 0 415 23010 0 Price Victoria 2014 Vincent Price A Daughter s Biography Open Road Media ISBN 978 1 4976 4940 8 Ramon David 1997a Dolores del Rio vol 1 Un cuento de hadas Dolores del Rio vol 1 A Fairy Tale Editorial Clio ISBN 968 6932 36 4 Ramon David 1997b Dolores del Rio vol 2 Volver al origen Dolores del Rio vol 2 Return to the Origin Editorial Clio ISBN 968 6932 37 2 Ramon David 1997c Dolores del Rio vol 3 Consagracion de una Diva Dolores del Rio vol 3 Consecration of a Diva Editorial Clio ISBN 968 6932 38 0 Ramon David 1997 La Santa de Orson Welles Orson Welles Santa Universidad Nacional Autonoma de Mexico ISBN 9683621473 Reyes Luis Rubie Peter 1994 Hispanics in Hollywood An Encyclopedia of Film and Television Garland ISBN 0 8153 0827 2 Riva Maria 1994 Marlene Dietrich Ballantine Books ISBN 0 345 38645 0 Torres Jose Alejandro 2004 Los Grandes Mexicanos Dolores del Rio The Greatest Mexicans Dolores del Rio in Spanish Mexico Grupo Editorial Tomo S A de C V ISBN 978 9706669971 Tunon Julia 2003 The Cinema of Latin America Wallflower Press ISBN 978 0 231 50194 1 Zolov Eric 2015 Iconic Mexico An Encyclopedia from Acapulco to Zocalo New York ABC CLIO ISBN 978 1 61069 044 7 Retrieved 28 March 2016 Magazines Dolores del Rio El Rostro del Cine Mexicano Dolores del Rio The Face of the Mexican Cinema Revista Somos Editorial Televisa S A de C V 1995 Monsivais Carlos 1995 Dolores del Rio El Rostro del Cine Mexicano Dolores del Rio The Face of the Mexican Cinema SOMOS verification needed Poniatowska Elena 1995 Dolores del Rio The Face of the Mexican Cinema SOMOS verification needed Dolores del Rio El Rostro del Cine Mexicano SOMOS Editorial Televisa 1995 verification needed Dolores del Rio El Rostro del Cine Mexicano Revista SOMOS Mexico 1994 ed Televisa pp 70 72 verification needed Katy Jurado Estrella de Hollywood orgullosamente mexicana Katy Jurado Proudly Mexican Hollywood Star Revista Somos Editorial Televisa S A de C V 1999 Dolores del Rio La Mexicana Divina Dolores del Rio The Divine Mexican Revista Somos Editorial Televisa S A de C V 2002 Dolores del Rio La Mexicana Divina Revista SOMOS Mexico 2002 ed Televisa pg 71 verification needed Further reading EditAgrasanchez Jr Rogelio 2001 Bellezas del cine mexicano Beauties of Mexican Cinema Archivo Filmico Agrasanchez ISBN 968 5077 11 8 Bodeen DeWitt 1976 From Hollywood The Careers of 15 Great American Stars Oak Tree ISBN 0 498 01346 4 E Fey Ingrid Racine Karen 2000 Strange Pilgrimages Exile Travel and National Identity in Latin America 1800 1990s So Far from God So Close to Hollywood Dolores del Rio and Lupe Velez in Hollywood 1925 1944 Wilmington Delaware Scholarly Resources ISBN 0 8420 2694 0 L Woll Allen 1978 The films of Dolores Del Rio New York Gordon Press ISBN 0 8490 1364 X Lacob Adrian 2014 Film Actresses Vol 23 Dolores del Rio Part 1 On Demand Publishing LLC Create Space ISBN 978 1 5029 8768 6 Mendible Myra 2010 From Bananas to Buttocks The Latina Body in Popular Film and Culture University of Texas Press ISBN 978 0 292 77849 8 Molina Guzman Isabel 2010 Dangerous Curves Latina Bodies in the Media NYU Press ISBN 978 0 8147 9606 1 Nericcio William 2007 Tex t Mex Seductive Hallucinations of the Mexican in America University of Texas Press ISBN 978 0 292 71457 1 Parish James Robert 2002 Hollywood divas the good the bad and the fabulous Contemporary Books ISBN 978 0 07 140819 6 Parish James Robert 2008 The Hollywood beauties Arlington House ISBN 978 0 87000 412 4 Pena Ovalle Priscilla 2011 Dance and the Hollywood Latina Race Sex and Stardom Rutgers University Press ISBN 978 0 8135 4880 7 Ramon David 1993 Dolores del Rio Historia de un rostro Dolores del Rio Story of a Face Universidad Nacional Autonoma de Mexico CCH Direccion Plantel Sur ISBN 9789686717099 Rivera Viruet Rafael J Resto Max 2008 Hollywood Se Habla Espanol Terramax Entertainment ISBN 978 0 9816650 0 9 Rodriguez Clara E 2004 Heroes Lovers and Others The Story of Latinos in Hollywood Oxford University Press ISBN 0 19 533513 9 Ruiz Vicki Sanchez Korrol Virginia 2006 Latinas in the United States A Historical Encyclopedia Volume 1 Indiana University Press ISBN 0 253 34681 9 Shipman David 1995 The Great Movie Stars The Golden Years Little Brown and Co ISBN 0 316 78487 7 Taibo Paco Ignacio 1999 Dolores del Rio mujer en el volcan Dolores del Rio Woman in the Volcano GeoPlaneta Editorial S A ISBN 9789684068643 Telgen Diane Kamp Jim 1993 Notable Hispanic American Women Vol 1 VNR AG s ISBN 978 0 8103 7578 9 External links Edit Wikimedia Commons has media related to Dolores del Rio Dolores del Rio at IMDb Dolores del Rio at AllMovie Dolores del Rio at the TCM Movie Database Dolores del Rio at the Cinema of Mexico site of the ITESM in Spanish Dolores del Rio profile Virtual History com The Dolores del Rio mural 1990 by artist Alfredo de Batuc 6529 Hollywood Boulevard Hudson St Los Angeles California Archived 29 July 2020 at the Wayback Machine Dolores del Rio statue on Hollywood La Brea Boulevard Archived 12 June 2009 at the Wayback Machine Photographs of Dolores del Rio Retrieved from https en wikipedia org w index php title Dolores del Rio amp oldid 1128454036, wikipedia, wiki, book, books, library,

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