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Silvia Pinal, the life of the great Mexican diva

Silvia Pinal She has had such a rich life that a text would not be enough to describe her fairly, but it could exalt some of her most representative moments to give a general panorama of what the great diva represents for our country and for herself: her life before fame, how he made a name for himself on the entertainment scene and his work with Luis Bunuel.

Tribute to Silvia Pinal in Fine Arts: director tells how the event will be

Before the fame

It all started with his birth on September 12, 1931 in Guaymas sonora. his parent, Maria Luis Hidalgo Aguilar, at the age of 15 she fell in love and got pregnant with a married man, the conductor Moses Pasquel, who disregarded his obligations as a father. But mother and daughter were not abandoned, because the politician Luis G. Pinal He decided to start a family with María and thus became Silvia’s father figure.

“I met him (Moses) when he was about 9 or 10 years old without knowing that he was my father; My aunt Concha took me and he was very affectionate, he gave me many things, toys and sweets. My aunt Concha would take me: ‘Let’s go see the man from the W’, so that’s how I met him until one day I found out that he was my father because of a lawsuit between Luis and my mother. It was very strong because I didn’t accept it from the start; Toys and gifts are nice, but the fatherly image was very strong, but until I got used to knowing that he was my father and not to stop loving Mr. Pinal, whom I adored until the last day, ”said the actress in the Program The minute that changed my destinywho drives Gustavo Adolfo Infante.

In that talk, which earned the entertainment journalist the National Prize for Journalism, Silvia spoke of her mother as someone “sensational, she liked to dance, sing, she was very happy, very pretty, she had beautiful legs. She had a beautiful character and danced her feet like a Spaniard, at parties she was the queen”.

But from working as a secretary in a pharmaceutical company, How did Silvia come to the artistic scene? “I saw Lily Ponds, various singers, Deanna Durbin, and I wanted to sing like them and I would sing in the room. So my mom took me to study bel canto and I was happy in the classes, ”she recalled.

From singing she went on to beauty pageants, and after obtaining the Student Princess of Mexico award, she enrolled in the Fine Arts acting school, where she received instruction from Carlos Pellicer, Salvador Novo and Xavier Villaurrutia. Thus formally began an artistic path that elevated her as the great Mexican diva.

carve out a career

To reach the status she currently enjoys – diva, legend, icon, star – Silvia had to start from the lowest rung: in the book Silvia Pinal’s cinema (1996), writer and film critic emilio garcia rivera account that the then actress made his stage debut as an extra in a performance of the work Summer night Dream, by William Shakespeare. She was soon noticed and participated with more prominence in productions such as Goya’s whims Y Our Natachauntil his name appeared as the main one in the work A crystal dream.

In 1949 he began his romance with that which has given him so much glory, the cinema. From her role as Juanita in the film Laura’s sin (1949), the actress appeared in the credits of the mark of the skunk (1950), Orange blossoms for your wedding (1950), the king of the neighborhood (1950) and The meat statue (1951).

But that moment in which it ceased to be a promise to become a reality, its consecration, came in 1952 with the premiere of A corner close to heaven: Silvia, involved in the role of Sonia Irina, conquered critics and viewers, which was reflected in the Ariel Award that she received in the category of Best Female Co-acting.

The actress in her youth | Special

Work with Bunuel

When Pinal and Buñuel met in the early 1960s, both already had great international media recognition. She for her excellent participation in tapes like A stranger on the stairs (1955), by Tulio Demicheli; Uomini e nobiluomini (1959), by Giorgio Bianchini; Y Maribel and the strange family (1960), by José María Forqué. And he for the realization of masterpieces like an Andalusian dog (1929), the great skull (1949) and The forgotten (1950).

The meeting between the two was motivated by Pinal, because he wanted to work with the director who already had a reputation for genius and controversy; the actor Francisco Rabal he was in charge of making them coincide during an evening in a hotel in Madrid.

That night, Pinal went with the producer Gustavo Alatriste, her husband at the time, to propose to the filmmaker the making of a film: viridiana. During the talk, Buñuel was sparing with the couple, but agreed to do the job, based on the novel Halma, by Benito Pérez Galdos.

“Meeting Buñuel was the best thing I’ve ever had because I worked with commercial directors, but when it came to talking about art I didn’t have much experience and suddenly Buñuel appeared, and that’s where my life and taste changed. I remember him with great gratitude because he taught me many things that I had not lived, “recalled Pinal during the presentation of his autobiography This is me in May 2017.

viridiana tells the story of a novice who faces difficulties related to sexual violence, suicide, breach of trust and other issues that were very scandalous at the time, since, after its premiere at the 1961 Cannes Film Festival, where it obtained the palm d’orthe film faced censorship from the Vatican and the Franco regime.

“These were very difficult times for him. In several countries the projection of the tape was prohibited, the press followed the case of censorship for months, he was attacked by many people, but he had already gone through several scandals and in a certain way he was tanned, “said Silvia in an interview for the Ministry of Culture.

“I have understood that Luis created a whole strategy to save the negatives of the tape. When we were filming it, we all knew what we were facing, it was other times, other ideas, and Buñuel was very brave in defending his art above all things”, he added. After the controversy over Viridiana, Buñuel and Pinal embarked on a new production: the exterminating angel (1962), which tells how a group of bourgeois are locked in a mansion and, as the days go by, they go crazy.

Silvia Pinal

Silvia in ‘Viridiana’ | Gustavo Alatriste Productions

simon of the desert (1964) was the last film between the actress and the director. It stands out that this production showed Silvia’s first nude on camera.

Both tried to meet again in films like diary of a waitress (1964) and divine words (1978), but producer decisions, copyright issues, and scheduling difficulties prevented a fourth collaboration. “When I looked at him with those big round eyes next to the camera, I knew exactly what he was asking me for a sequence; it was in those eyes that you could read everything he was, everything he wanted. He was a perfectionist, but also someone who knew the exact moment when an image, a dialogue or a gesture was going to last forever.”, Silvia said about her director and friend.


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Reference from www.milenio.com

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