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María Félix

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María Félix
File:María Félix.jpg
Born
María de los Ángeles Félix Güereña

(1914-04-08)April 8, 1914
Álamos, Sonora, Mexico
DiedApril 8, 2002(2002-04-08) (aged 88)
Mexico City, Mexico
Other namesLa Doña
Years active1940–1971
Spouse(s)Enrique Álvarez (1931–1938; 1 child, Enrique Álvarez Félix)
Agustín Lara (1943–1947)
Jorge Negrete (1952–1953)
Alex Berger (1956–1974)
ChildrenEnrique Álvarez Félix (1934–1996)

María Félix (April 8, 1914 – April 8, 2002) was a Mexican actress and the most iconic leading lady of the Golden Age of Mexican cinema, known for her larger-than-life, tough character in films. She was nominated for five Ariel Awards, of which she won three for Enamorada, Río Escondido, Doña Diabla and a special Golden Ariel Award for her contribution to cinema. She was more commonly known, particularly in her later years, by the honorific La Doña.

Early Life

She was born María de los Ángeles Félix Güereña in Álamos, Sonora, Mexico. There is some dispute regarding Miss Félix's date of birth. There is a large (but not unanimous) opinion that she was born on April 8, 1914, which means that she died on her 88th birthday. However, her obituary in The New York Times states that she was born on May 4, 1914, which would have made her 87 at the time of her death on April 8, 2002. Some claim her birth certificate supports the April 8, 1914 birthdate, although no actual evidence (such as a copy of either the birth or the death certificate) has been presented as concrete evidence. [citation needed] Félix was the ninth of twelve children born to Bernardo Félix, descendant of Yaqui Indians and Josefina Güereña, who was of Spanish descent: Josefina, María de la Paz, Bernardo, Miguel, María Mercedes, Fernando, María del Sacramento, Pablo, Victoria Eugenia, Ricardo and Benjamin. Since her childhood, María showed a strong temperament. She preferred playing with boys than girls, which would carry the jealousy of her sisters.[1].

During her teens, she had an incestuous relationship with her brother Paul: "The Perfume of Incest, do not have another love". Her brother was admitted to the College Miltar in Mexico City, where he died mysteriously soon after. The authorities claimed that he committed suicide.[2]

In 1931 she married Enrique Alvarez Alatorre, a seller of Max Factor whom she met in Guadalajara. He was the father of her only child, also actor Enrique Alvarez Felix. The couple divorced in 1938. María lived for a time at home with her parents until 1939, when she traveled with her son to Mexico City. However, soon after, her ex-husband took their son. María was able to recover until 1943.[3].


Career

María Félix was discovered by businessman Fernando Palacios in Mexico City, when she was walking down the street. Félix made ​​her first appearance in the film world in Black and White Ball at the Country Club, where the female stars of Mexico at the time: Esther Fernandez, Lupe Velez and Andrea Palma were gathered. The Calderon Brothers, famous filmmakers in Mexico, led her to Hollywood, where she met Cecil B. DeMille, who offered her work in the Metro-Goldwyn Mayer. María refused, wishing to work in Mexico.[4]. Palacios introduced her to the filmmaker Miguel Zacarías, who would give her the opportunity of starring El Peñon de las Animas alongside Jorge Negrete.

In 1943 she starred Doña Bárbara, directed by Fernando de Fuentes and inspired in the novel of the Venezuelan writer Romulo Gallegos. De Fuentes increased her popularity with such films as La Mujer sin Alma (1944) and La Devoradora (1946); the latter making the actress the vamp of Mexican cinema in the 1940s. María Félix never accepted to work on films in Hollywood because she stated that Americans would offer her Native-American roles.[5]

She reportedly lost the only lead role of "Pearl Chavez" in the 1945 film Duel in the Sun, although it was written with her in mind, to Jennifer Jones, reportedly due to work commitments in Europe. As a result, she never achieved the fame in the USA that she achieved in Latin America and Europe.

In 1945, Félix filmed Vértigo, directed by Antonio Momplet. According to Félix, because of this movie, she and Dolores del Río mistook their paths for a brief period of time. The film had been written for Del Río, but by mistake, the messenger sent the film to Félix. Meanwhile, Del Río finished filming the movie La Selva de Fuego (written for María).[6]

In 1946, she came under the influence of director Emilio Fernández, with whom she made the films Enamorada (1946), Río Escondido (1947) and Maclovia (1948), launching her career throughout Europe.

File:MariaFelixLaValentina.jpg
María Félix in La Valentina (1966)

She worked in Spain in Mare Nostrum (1948), Una mujer cualquiera, La Noche del Sábado (1950) and the Spanish-French film La Couronne Noire (1951). Later she moves to Italy where she filmed Messalina (1951, directed by Carmine Gallone) and Incantessimo Tragico (1951). In 1952 she work in Argentina, in the film La Pasión Desnuda, directed by Luis Cesar Amadori.

In 1953 she returned to México, where filmed El Rapto, the last film of her third husband, Jorge Negrete.

In France, she worked with Jean Renoir in the successful film French Cancan (1954) with Jean Gabin and in Les Heros sont Fatigues (1955) with Yves Montand. She returned to Mexico in 1955, and filmed successful films like La Escondida (1955) with Pedro Armendariz, Tizoc (1956) with Pedro Infante and The Soldiers of Pancho Villa (1959) with Dolores del Rio. In later years, her films were inspired by the Mexican Revolution as Juana Gallo (1961), La Valentina (1966), and La Generala (1970), her last film.

Her last films made abroad were Beyond All Limits (Mexican-American production, 1957) with Jack Palance, Faustina (Spain, 1957), Sonatas (Spain, 1957) directed by Juan Antonio Bardem and La Fievre Monte a El Pao (French-Mexican production, 1959) directed by Luis Buñuel. She appears nude in the film Amor y sexo (Safo'63) in 1963.

Relationships

Her first husband was the Max Factor seller Enrique Alvarez Alatorre, father of her only child, also actor Enrique Alvarez Felix. The couple married in 1931 and divorced in 1938. Her second husband was the famous Mexican musician and composer Agustin Lara El Músico Poeta. She met him in 1943, and married in 1945. In the honeymoon in Acapulco, Lara composed her the famous song María Bonita (Pretty María). [7] With this song María achieved international fame. The couple divorced in 1947. Her third husband was the Mexican actor and singer Jorge Negrete. They met in 1942, during the shooting of El Peñón de las Ánimas and had mutual dislike. The situation changed when María returned to Mexico from Spain in 1953. However, Negrete was deathly suffering from liver cirrhosis , and died in Los Angeles, 11 months after their marriage.[8] Her last husband was a French banker, Alex Berger, whom she married in 1956. Berger owned thoroughbred horses, achieving notable success with the colt Nonoalco who won four Group One races including the 1974 British Classic, the 2,000 Guineas. When Berger died in 1974, Félix inherited his multi-million dollar thoroughbred horse racing stable. [citation needed]

In music, art and fashion

Agustín Lara wrote many songs for her, among them the famous María Bonita. It has been recorded by many singers including Plácido Domingo. Other song writers also composed songs for her, like María de Todas las Marías by Juan Gabriel.

Félix was painted by many artists, including Diego Rivera, Leonor Fini, Leonora Carrington, Stanislao Lepri, Bridget Tichenor and Antoine Tzapoff.[9]

In 1949, Diego Rivera painted a portrait of her, which Félix classified as "muy malo" ("really bad"). This portrait; was originally intended to premiere in a retrospective on Rivera's work but Félix did not allow the painting to be displayed, as she never liked it. She did keep it for many years though, until she sold it to Mexican singer Juan Gabriel. [citation needed]

In fashion, Félix was dressed by designers like Christian Dior, Givenchy, Yves Saint Laurent, Chanel, and Balenciaga. The House of Hermès (Couture Department) designed extravagant creations just for her. She was a noted collector of fine antiques. She favored important pieces like her famous collection of Second Empire furniture. She was also a jewellery connoisseur and had an extensive jewelry collection, including the 41.37 carat (8.274 g), D-flawless "Ashoka" diamond. In 1968, Félix commissioned a serpent diamond necklace from Cartier Paris. The result was an impressive, completely articulated serpent made out of platinum and white gold and encrusted with 178.21 carats (35.642 g) of diamonds. In 1975, she again asked Cartier to create a necklace for her, this time in the shape of two crocodiles. The two crocodile bodies were made of 524.9 grams of gold, one covered with 1,023 yellow diamonds, while the other was adorned with 1,060 circular cut emeralds. [citation needed]

Since Félix's death, these jewellery pieces have been displayed as part of The Art of Cartier Collection in several museums around the world. To pay tribute to the actress, in 2006 Cartier debuted its La Doña de Cartier collection. The La Doña de Cartier watch with reptilian links was created to impress by its wild look. The case of the La Doña de Cartier features a trapezoid shape with asymmetrical profile reminding a crocodile's head. The wristband of the watch resembles the contours of a crocodile in large, bold and gold scales. The La Doña de Cartier Collection also includes jewellery, accessories, and leather handbags.[10]

Death

Maria Felix died on April 8, 2002 in Mexico City at 88 years old due to cardiac arrest. Her remains were interred in the Panteón Francés in Mexico City.

Filmography

Main article: María Félix filmography

Sources

Bibliography

  • Felix, María (1994). Todas mis Guerras. Clío. ISBN 968-11-0556-7.
  • Agrasánchez Jr., Rogelio (2001). Bellezas del cine mexicano/Beauties of Mexican Cinema. Archivo Fílmico Agrasánchez. ISBN 968-5077-11-8.
  • Taibo I., Paco Ignacio (1986). María Félix: 47 pasos por el cine. Editorial Planeta. ISBN 968-406-283-4.

References

  1. ^ Félix, María (1994). Todas mis Guerras. Clío. p. 52. ISBN 968-6932-08-9.
  2. ^ Félix, María (1994). Todas mis Guerras. Clío. p. 84. ISBN 968-6932-08-9.
  3. ^ Félix (1993), vol. 1, p. 65-75
  4. ^ Félix (1993), vol. 1, p. 80
  5. ^ "María Félix es un mito del cine mexicano". Retrieved November 29, 2011.
  6. ^ Félix, María (1994). Todas mis Guerras. Clío. p. 84. ISBN 968-6932-08-9.
  7. ^ Félix (1993), vol. 2, p. 53
  8. ^ Félix (1993), vol. 3, p. 24-31
  9. ^ Estate of María Félix: la Doña totals $7.3 million
  10. ^ La Dona de Cartier Reptile-Like Watch
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