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ESTILISMO y PELUQERÍA: José Bueno
MAQUILLAJE: Vanessa Juez
Diciembre 2010 - (Cantabria)
© Gorka Goitia Fotógrafo
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NO BANNERS, please.
COMMENTS WITH IMAGES WILL BE DELETED. THANKS
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Una postal de Ediciones Este. Lleva depósito legal de 1964.
LORNE GREENE, Intérprete del seria T. V. "BONANZA", de la N. B. C.
Sangenjo (Pontevedra)
Procedencia: Desconocido
Fotógrafo: -
Registro nº: 01348
Signatura: Caja 14
Fondos: Biblioteca de la Facultad de Empresa y Gestión Pública (Universidad de Zaragoza)
Legado: Luis Fernández Fuster / E.S. Turismo Huesca
Ediciones Minotauro (Barcelona) - 2005
Serie: Booket. Novela. Crimen y misterio
Título original: Running wild
Nº53.
Lincoln Continental cabriolet (1941).
Escala 1/43.
"Car Collection" - Ediciones Del Prado (España).
Año 1999.
More info: perso.ya.com/gamas43/GAMAS43/Kiosco/CarCollection.htm
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A Line Of Its Own
"September 20, 1940. The 1941 Lincoln Continental becomes its own car line.
The first Lincoln Continentals were produced on a limited run basis as an addition to the Zephyr line. Advertised as a Zephyr with the “flavor of European boulevards,” around 400 were built from October of 1939 to September of 1940. They were almost completely handmade (to fit the many custom requests) and offered extensive interior options.
Based on the overwhelming response by the public and critics alike, the Continental became its own line, available in coupe and cabriolet. Refinements for the 1941 models included pushbutton door controls, an electrically-powered convertible top replacing the previous vacuum system and a dash-located hood-release replacing the former rotating hood ornament.
Bob Gregorie, head of styling and design, placed a new hood ornament on the Continental – which he referred to as a "speared golf ball" – that accentuated the length of the hood nicely. The 1941 Continental’s low lines, large windows and sleek frame was inspired by Gregorie’s and Edsel Ford’s shared love for the ease of an ocean yacht. That inspiration lives on in current Lincoln vehicles."
Source: www.lincoln.com.cn/en/heritage-this-week-in-history-septe...
More info:
en.wikipedia.org/wiki/Lincoln_Continental
auto.howstuffworks.com/1940-1941-lincoln-continental.htm
auto.howstuffworks.com/1941-lincoln-continental-cabriolet...
Exclusive manip de Ediciones ChmypImages no borrar marca de agua, Gracias. www.facebook.com/JenniferLawrenceIsSoPerfect <-- like
Spanish postcard by Ediciones Raker, Barcelona, no. 23. Photo: M.G.M., 1959.
Bright-eyed Mitzi Gaynor (1931) is an American actress, singer, and dancer. She was a leading lady of light musicals, including There's No Business Like Show Business (1954), which featured Irving Berlin's music and starred Ethel Merman, and South Pacific (1958), based on the musical by Rodgers and Hammerstein.
Mitzi Gaynor was born as Francesca Marlene de Czanyi von Gerber in 1931, in Chicago, Illinois. She was the daughter of Pauline, a dancer, and Henry von Gerber, a violinist, cellist, and music director. After her father remarried, she became step-sister to anti-war activist Donald W. Duncan. Her family first moved to Elgin, Illinois, then to Detroit, and later when she was eleven, on to Hollywood. She trained as a ballerina as a child and began her career as a chorus dancer. At 12, she joined the dancing chorus of the Los Angeles Civic Light Opera. She lied about her address so she could attend Hollywood High School. In 1950, she signed a seven-year contract with Twentieth Century-Fox where she sang, acted, and danced in a number of film musicals. A Fox Studio executive thought that Mitzi Gerber sounded like the name of a delicatessen, and they came up with a name that used the same initials. Gaynor made her film debut in a musical, My Blue Heaven (Henry Koster, 1950) supporting Betty Grable and Dan Dailey. She followed it with a college drama Take Care of My Little Girl (Jean Negulesco, 1951), where she played the roommate of Jeanne Crain. Fox then gave Gaynor a star part, in the musical biopic Golden Girl (Lloyd Bacon, 1951). It was a mild success at the box office. Gaynor was one of several stars in the anthology comedy We're Not Married! (Edmund Goulding, 1952) with Ginger Rodgers and Marilyn Monroe, and then she was top billed in the musical, Bloodhounds of Broadway (Harmon Jones, 1952). Fox put her in another biopic, The I Don't Care Girl (Lloyd Bacon, 1952), where she played Ziegfeld star Eva Tanguay. Gaynor starred in Down Among the Sheltering Palms (Edmund Goulding, 1953), playing a South Sea island girl. She was the female lead in a Western, Three Young Texans (Henry Levin, 1954) with Jeffrey Hunter. Gaynor's most popular film in her time at Fox was There's No Business Like Show Business (Walter Lang, 1954), where she was billed after Ethel Merman, Dan Dailey, Marilyn Monroe, Donald O'Connor and Johnnie Ray.
In 1954, Mitzi Gaynor married Jack Bean, a talent agent and public relations executive for MCA, in San Francisco, California. She had just been released from Twentieth Century-Fox (before the start of There's No Business Like Show Business) with four years left on her contract and decided with the time off to get married. The union was childless. After their wedding, Bean quit MCA and started his own real estate business and managed Gaynor's career. Bean wisely perceived that his new bride was a far more effective performer on a live stage rather than a film set. In 1956, Gaynor appeared in the Paramount remake of Anything Goes (Robert Lewis, 1956), co-starring Bing Crosby, Donald O'Connor, and Zizi Jeanmaire, loosely based on the musical by Cole Porter, P.G. Wodehouse and Guy Bolton. Paramount cast her in another remake, The Birds and the Bees (Norman Taurog, 1956) with David Niven, playing the role originated by Barbara Stanwyck in The Lady Eve (Preston Sturges, 1941). Her third film for Paramount was The Joker Is Wild (Charles Vidor, 1957), a biopic of famous comedian Joe E. Lewis (Frank Sinatra) in which Gaynor played the female lead. In 1957, Gaynor appeared in MGM's Les Girls (George Cukor, 1957), with Gene Kelly and Kay Kendall. Her biggest international fame came from the plum role of Nellie Forbush in the film version of Rodgers and Hammerstein's South Pacific (Joshua Logan, 1958), starring Rossano Brazzi. For her performance, she was nominated for a Best Actress Golden Globe Award. Gaynor followed this with a comedy at MGM, Happy Anniversary (David Miller, 1959) opposite David Niven, and the British musical comedy thriller Surprise Package (Stanley Donen, 1960), with Yul Brynner and Noël Coward. Her last film role was For Love or Money (Michael Gordon, 1963), starring Kirk Douglas. Mitzi Gaynor's film career was over, but happily, she continued to be a major draw on the nightclub and summer-musical circuit. She often performed songs at Academy Awards ceremonies. At the 1967 Oscar telecast, she sang the theme from the film Georgy Girl (Silvio Narizzano, 1966) and stopped the show. The Academy had a hard time getting the audience to sit down and stop applauding. Gaynor later added the number to her concert repertoire. Throughout the 1960s and 1970s, she starred in nine acclaimed television specials that garnered 16 Emmy nominations. During the 1990s, Gaynor also became a featured columnist for the influential news magazine The Hollywood Reporter. Her husband Jack Bean died in 2006.
Sources: Hal Erickson (AllMovie), Wikipedia and IMDb.
Nº53.
Lincoln Continental cabriolet (1941).
Escala 1/43.
"Car Collection" - Ediciones Del Prado (España).
Año 1999.
More info: perso.ya.com/gamas43/GAMAS43/Kiosco/CarCollection.htm
-----------------------------------------------------------------------------------------
A Line Of Its Own
"September 20, 1940. The 1941 Lincoln Continental becomes its own car line.
The first Lincoln Continentals were produced on a limited run basis as an addition to the Zephyr line. Advertised as a Zephyr with the “flavor of European boulevards,” around 400 were built from October of 1939 to September of 1940. They were almost completely handmade (to fit the many custom requests) and offered extensive interior options.
Based on the overwhelming response by the public and critics alike, the Continental became its own line, available in coupe and cabriolet. Refinements for the 1941 models included pushbutton door controls, an electrically-powered convertible top replacing the previous vacuum system and a dash-located hood-release replacing the former rotating hood ornament.
Bob Gregorie, head of styling and design, placed a new hood ornament on the Continental – which he referred to as a "speared golf ball" – that accentuated the length of the hood nicely. The 1941 Continental’s low lines, large windows and sleek frame was inspired by Gregorie’s and Edsel Ford’s shared love for the ease of an ocean yacht. That inspiration lives on in current Lincoln vehicles."
Source: www.lincoln.com.cn/en/heritage-this-week-in-history-septe...
More info:
en.wikipedia.org/wiki/Lincoln_Continental
auto.howstuffworks.com/1940-1941-lincoln-continental.htm
auto.howstuffworks.com/1941-lincoln-continental-cabriolet...
Marvila. Atom. Año VII número 81. Junio 1 de 1962. Novaro Ediciones Recreativas México. Capítulos: EL ORIGEN DE ATOM. CHIRICUTO. EN EL CIRCO. LA BATALLA DE LOS TITANES DIMUINUTOS. DULCE MARIA. CORVINO. PANCHITO. LUCAS. LA ABUELITA. FFB
Spanish postcard by Ediciones J.R.S. Photo: Cifesa. Sara Montiel in El Último Cuple / The Last Torch Song (Juan de Orduña, 1957).
Spanish singer and actress Sara Montiel, also known as Sarita and Saritísima, was a beloved and internationally recognised figure in Spanish-speaking cinema. In the late 1950s, Montiel achieved the status of mega-star in Europe and Latin America with El Último Cuple / The Last Torch Song (1957). This film and La Violetera / The Violet Peddler (1958) netted the highest gross revenues ever recorded for films made in the Spanish-speaking film industry. Montiel was also the first woman to distill sex openly in Spanish cinema at a time when even a low-cut dress was not acceptable.
Sara Montiel was born as María Antonia Alejandra Vicenta Elpidia Isidora Abad Fernández in the village of Campo de Criptana in the province of Ciudad Real, Spain, in 1928. Her parents were Isidoro Abad, a peasant who later operated a bar, and Maria Vicenta Fernández, a door-to-door beautician. At 15, Montiel won a beauty and talent contest held by Cifesa, the most influential film studio at that time in Spain. The next year, she made her film debut in Te Quiero Para Mí / I want you for myself (Ladislao Vajda, 1943), credited as Maria Alejandra, a shortened version of her real name. In spite of the small part, the young actress caught the attention of producers and directors who realised her enormous potential. By the end of 1944, she was given the starring role in the film Empezó En Boda / It Started at the Wedding (Raffaello Matarazzo, 1944), which introduced her with a new image and a new name: she was now a sophisticated blonde named Sara Montiel. In the next four years, she appeared in 14 films. Soon her colleagues started calling her 'Sarita' (Little Sara) due to her youth. The nickname caught on with the press and the public, consequently. Since then, both Sara and Sarita have been used in credits and publicity. In 1947, she played the role of Antonia, the niece of Don Quixote, in Don Quijote de la Mancha / Don Quixote (Rafael Gil, 1947), the Spanish film version of Cervantes's great novel. Her first international success was her role as an Islamic princess in Locura de Amor / The Mad Queen (Juan de Orduña, 1948) with Fernando Rey. Locura de Amor led to a contract in Mexico, where she established herself as one of the most popular film actors of the decade. She made a total of 13 Mexican films between 1950 and 1954. Due to her popularity in Mexico, Hollywood came calling, and she was introduced to American filmgoers in the Western Vera Cruz (Robert Aldrich, 1954), co-starring with Gary Cooper and Burt Lancaster. She was offered the standard seven-year contract at Columbia Pictures, but she refused, afraid of Hollywood's typecasting policies for Hispanics. Instead, she free-lanced at Warner Bros. in Serenade (Anthony Mann, 1956) with Mario Lanza and Joan Fontaine, and at RKO in Run of the Arrow (Samuel Fuller, 1957), opposite Rod Steiger and Charles Bronson. Director Anthony Mann became her first husband.
Back in Europe, Sara Montiel became the most commercially successful Spanish actress during the mid-20th century. The film musical El Último Cuplé / The Last Torch Song (Juan de Orduña, 1957) was an unexpected success. It played for a year in the same theatres in which it opened. A similar reaction followed in the other European countries and in Latin America. El Último Cuplé turned Montiel into an overnight sensation both as an actor and a singer. Then she achieved the status of mega-star with La Violetera / The Violet Peddler (Luis César Amadori, 1958) with Raf Vallone. It broke the box-office records set by El Último Cuplé. She won the Premio del Sindicato (at the time Spain's equivalent to the Oscar) for best actress two years in a row for her performances in El Último Cuplé and La Violetera. From then on, she combined filming highly successful vehicles, recording songs in five languages and performing live all over the world. Among the films that continued her immense popularity were Carmen, la de Ronda / The Devil Made A Woman (Tulio Demicheli, 1959) with Jorge Mistral, Mi Ultimo Tango / My Last Tango (Luis César Amadori, 1960), and Pecado de Amor / Sin of Love (Tulio Demicheli, 1961). By 1962, she had become a legend to millions worldwide, reaching markets that had previously been ‘uncharted territory for the Spanish cinema. La Bella Lola (Tulio Demicheli, 1962), a new version of Camille with Antonio Cifariello and Maurice Ronet, La Reina del Chantecler (1963), and Noches de Casablanca (Henri Decoin, 1963) with Maurice Ronet spread Sarita's popularity to Eastern Europe, Greece, Turkey, Israel and Japan. Samba (Rafael Gil, 1964) with Italian actor Fosco Giachetti, La mujer perdida / The Lost Woman (Tulio Demicheli, 1966) with Massimo Serato, Tuset Street (Jorge Grau, Luis Marquina, 1967) with Patrick Bauchau, and Esa Mujer / That Woman (Mario Camus, 1969) followed. In 1973, her film Varietés (Juan Antonio Bardem, 1971) was banned in Beijing. By then, she had become a legend to her millions of fans, but she became dissatisfied with the film industry when producers started offering her roles in soft-core porno films. In 1974, Montiel announced her retirement from movies but continued performing live, recording and starring on her own variety television shows in Spain.
Sara Montiel has been married four times: to American film director Anthony Mann (1957-1963), industrial attorney José Vicente Ramírez Olalla (1964-1978), attorney-journalist José Tous Barberán (1979-1992), and Cuban videotape operator Antonio Hernández (2002-2005). With José Tous Barberán, she adopted two children: Thais (1979) and Zeus (1982). Before, during and after these marriages, she had countless affairs. During the Franco dictatorship, Spanish stars were forbidden to behave in any way that could be perceived at odds with Christian principles and morality; consequently, they kept their private lives very private. Montiel was no exception. Pre-marital or out-of-wedlock relationships were never mentioned, and her civil marriage to Anthony Mann was underplayed, along with the divorce. After starring in the film Cinco Almohadas Para Una Noche / Five Pillows for a Night (Pedro Lazaga, 1974), Montiel announced her retirement from the cinema. She complained about the almost pornographic turn taken by the Spanish film industry after censorship was abolished in the post-Franco era. For a long time she concentrated on highly successful stage musicals: 'Sara en Persona' (1970-1973), 'Saritísima' (1974-1975), 'Increible Sara' (1977-1978), 'Super Sara Show' (1979-1980), 'Doña Sara de La Mancha' (1981-1982), 'Taxi Vamos Al Victoria' (1983-1984), 'Nostalgia' (1984-1985), 'Sara, Mes Que Mai !!' (1986), 'Sara, Siempre Sara' (1987-1988) and 'Saritízate' (1989-1990).
In the 1990s, Sara Montiel surprised everyone by branching out into television: Sara y Punto (1990), a mini-series of seven one-hour episodes, included a serialised biography of the star, many popular guests including Luciano Pavarotti and Charles Aznavour, and Montiel singing her greatest hits in addition to new songs written especially for her. Next came Ven al Paralelo (1992), taped in a Barcelona theatre where Montiel hosted, sang and acted in comedy sketches in front of a live audience. In 2000, she published her autobiography 'Vivir es un placer' (Memories: To Live Is A Pleasure), an instant bestseller with ten editions to date. A sequel, 'Sara and Sex', followed in 2003. In these books, Montiel revealed other relationships in her past, including one-night stands with writer Ernest Hemingway as well as actor James Dean. She also claimed a long-term affair in the 1940s with playwright Miguel Mihura and mentioned that science wizard Severo Ochoa, a Nobel Prize winner, was the true love of her life. She was portrayed in the Pedro Almodóvar film La mala educación / Bad Education (2004) by Gael García Bernal as the transsexual character Zahara, and a clip from one of her films was also used. In 2009, the pop group Fangoria invited Montiel to record a track for the re-release of the band's album 'Absolutamente'. The title track, 'Absolutamente', became a Top 10 hit. After almost 40 years without making a film, she accepted a role in the comedy Abrázame / Hold (Óscar Parra de Carrizosa, 2011). The film was shot on location in Montiel's birthplace in La Mancha. According to the star, in this film, she dared to do "a parody of her old screen image, just for fun." Sara Montiel died in 2013 at home in Madrid. She was survived by her children, Thais and Zeus.
Sources: InfoMontiel, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
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Agradeceremos que a modo de epígrafe de las mismas, se mencione: Gentileza Fundación arteba.
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¡¡SORTEO PARA COSPLAYERS DE 2 EDICIONES!!
Para participar:
-RT a este tweet -> twitter.com/Blazgad/status/908357102514688002
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(Importante: Leer las condiciones en la foto)
MUCHA SUERTEEE!! <3
Foto para el libro:
LA FRONTERA. PALABRAS DE FUEGO: CONVERSACIONES CON JAVIER ANDREU. (Sergio Guillén)
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En nombre del nieto, en Radio Intereconomía. José Cavero entrevista a José Luis García Rodríguez.. Libro editado por Ediciones Irreverentes.
En la sala de prensa del Placio de Santa Cruz se han presentado las dos actividades más emblemáticas de la UVa durante el verano y que un año más repiten escenario, el Patio de la Hospedería de San Benito, enmarcadas en las Noches de San Benito que programa el Ayuntamiento de Valladolid, Universijazz y Estival, en una rueda de prensa en la que han participado el Director coordinador Universidades Castilla y León del Santander Universidades, José María Pino Muela; la Concejala de Cultura y Turismo del Ayuntamiento de Valladolid, Ana María Redondo García; el Vicerrector de Relaciones Internacionales y Extensión Universitaria, José Ramón González; la Directora del Área de Extensión y Cultura de la UVa, Amelia Aguado Álvarez, y el director artístico de Universijazz, José Luis Gutiérrez
Spanish postcard by Ediciones J.R.B., no. 99/14. Sarita Montiel in El Último Cuple / The Last Torch Song (Juan de Orduña, 1957).
Spanish singer and actress Sara Montiel died today. She was 85. Sara, also known as Sarita and Saritísima, was a much-loved and internationally known name in the Spanish-speaking cinema. In the late 1950s, Montiel achieved the status of mega-star in Europe and Latin America with El Último Cuple / The Last Torch Song (1957). This film and La Violetera / The Violet Peddler (1958) netted the highest gross revenues ever recorded for films made in the Spanish-speaking film industry. Montiel was also the first woman to distill sex openly in Spanish cinema at a time when even a low-cut dress was not acceptable.
Sara Montiel was born as María Antonia Alejandra Vicenta Elpidia Isidora Abad Fernández in the village of Campo de Criptana in the province of Ciudad Real, Spain, in 1928. Her parents were Isidoro Abad, a peasant who later operated a bar, and Maria Vicenta Fernández, a door-to-door beautician. At 15, Montiel won a beauty and talent contest held by Cifesa, the most influential film studio at that time in Spain. The next year, she made her film debut in Te Quiero Para Mí / I want you for myself (Ladislao Vajda, 1943), credited as Maria Alejandra, a shortened version of her real name. In spite of the small part, the young actress caught the attention of producers and directors who realised her enormous potential. By the end of 1944, she was given the starring role in the film Empezó En Boda / It Started at the Wedding (Raffaello Matarazzo, 1944), which introduced her with a new image and a new name: she was now a sophisticated blonde named Sara Montiel. In the next four years, she appeared in 14 films. Soon her colleagues started calling her 'Sarita' (Little Sara) due to her youth. The nickname caught on with the press and the public, consequently. Since then, both Sara and Sarita have been used in credits and publicity. In 1947, she played the role of Antonia, the niece of Don Quixote, in Don Quijote de la Mancha / Don Quixote (Rafael Gil, 1947), the Spanish film version of Cervantes's great novel. Her first international success was her role as an Islamic princess in Locura de Amor / The Mad Queen (Juan de Orduña, 1948) with Fernando Rey. Locura de Amor led to a contract in Mexico, where she established herself as one of the most popular film actors of the decade. She made a total of 13 Mexican films between 1950 and 1954. Due to her popularity in Mexico, Hollywood came calling, and she was introduced to American filmgoers in the Western Vera Cruz (Robert Aldrich, 1954), co-starring with Gary Cooper and Burt Lancaster. She was offered the standard seven-year contract at Columbia Pictures, but she refused, afraid of Hollywood's typecasting policies for Hispanics. Instead, she free-lanced at Warner Bros. in Serenade (Anthony Mann, 1956) with Mario Lanza and Joan Fontaine, and at RKO in Run of the Arrow (Samuel Fuller, 1957), opposite Rod Steiger and Charles Bronson. Director Anthony Mann became her first husband.
Back in Europe, Sara Montiel became the most commercially successful Spanish actress during the mid-20th century. The film musical El Último Cuplé / The Last Torch Song (Juan de Orduña, 1957) was an unexpected success. It played for a year in the same theatres in which it opened. A similar reaction followed in the other European countries and in Latin America. El Último Cuplé turned Montiel into an overnight sensation both as an actor and a singer. Then she achieved the status of mega-star with La Violetera / The Violet Peddler (Luis César Amadori, 1958) with Raf Vallone. It broke the box-office records set by El Último Cuplé. She won the Premio del Sindicato (at the time Spain's equivalent to the Oscar) for best actress two years in a row for her performances in El Último Cuplé and La Violetera. From then on, she combined filming highly successful vehicles, recording songs in five languages and performing live all over the world. Among the films that continued her immense popularity were Carmen, la de Ronda / The Devil Made A Woman (Tulio Demicheli, 1959) with Jorge Mistral, Mi Ultimo Tango / My Last Tango (Luis César Amadori, 1960), and Pecado de Amor / Sin of Love (Tulio Demicheli, 1961). By 1962, she had become a legend to millions worldwide, reaching markets that had previously been ‘uncharted territory for the Spanish cinema. La Bella Lola (Tulio Demicheli, 1962), a new version of Camille with Antonio Cifariello and Maurice Ronet, La Reina del Chantecler (1963), and Noches de Casablanca (Henri Decoin, 1963) with Maurice Ronet spread Sarita's popularity to Eastern Europe, Greece, Turkey, Israel and Japan. Samba (Rafael Gil, 1964) with Italian actor Fosco Giachetti, La mujer perdida / The Lost Woman (Tulio Demicheli, 1966) with Massimo Serato, Tuset Street (Jorge Grau, Luis Marquina, 1967) with Patrick Bauchau, and Esa Mujer / That Woman (Mario Camus, 1969) followed. In 1973, her film Varietés (Juan Antonio Bardem, 1971) was banned in Beijing. By then, she had become a legend to her millions of fans, but she became dissatisfied with the film industry when producers started offering her roles in soft-core porno films. In 1974, Montiel announced her retirement from movies but continued performing live, recording and starring on her own variety television shows in Spain.
Sara Montiel has been married four times: to American film director Anthony Mann (1957-1963), industrial attorney José Vicente Ramírez Olalla (1964-1978), attorney-journalist José Tous Barberán (1979-1992), and Cuban videotape operator Antonio Hernández (2002-2005). With José Tous Barberán, she adopted two children: Thais (1979) and Zeus (1982). Before, during and after these marriages, she had countless affairs. During the Franco dictatorship, Spanish stars were forbidden to behave in any way that could be perceived at odds with Christian principles and morality; consequently, they kept their private lives very private. Montiel was no exception. Pre-marital or out-of-wedlock relationships were never mentioned, and her civil marriage to Anthony Mann was underplayed, along with the divorce. After starring in the film Cinco Almohadas Para Una Noche / Five Pillows for a Night (Pedro Lazaga, 1974), Montiel announced her retirement from the cinema. She complained about the almost pornographic turn taken by the Spanish film industry after censorship was abolished in the post-Franco era. For a long time she concentrated on highly successful stage musicals: 'Sara en Persona' (1970-1973), 'Saritísima' (1974-1975), 'Increible Sara' (1977-1978), 'Super Sara Show' (1979-1980), 'Doña Sara de La Mancha' (1981-1982), 'Taxi Vamos Al Victoria' (1983-1984), 'Nostalgia' (1984-1985), 'Sara, Mes Que Mai !!' (1986), 'Sara, Siempre Sara' (1987-1988) and 'Saritízate' (1989-1990).
In the 1990s, Sara Montiel surprised everyone by branching out into television: Sara y Punto (1990), a mini-series of seven one-hour episodes, included a serialised biography of the star, many popular guests including Luciano Pavarotti and Charles Aznavour, and Montiel singing her greatest hits in addition to new songs written especially for her. Next came Ven al Paralelo (1992), taped in a Barcelona theatre where Montiel hosted, sang and acted in comedy sketches in front of a live audience. In 2000, she published her autobiography 'Vivir es un placer' (Memories: To Live Is A Pleasure), an instant bestseller with ten editions to date. A sequel, 'Sara and Sex', followed in 2003. In these books, Montiel revealed other relationships in her past, including one-night stands with writer Ernest Hemingway as well as actor James Dean. She also claimed a long-term affair in the 1940s with playwright Miguel Mihura and mentioned that science wizard Severo Ochoa, a Nobel Prize winner, was the true love of her life. She was portrayed in the Pedro Almodóvar film La mala educación / Bad Education (2004) by Gael García Bernal as the transsexual character Zahara, and a clip from one of her films was used as well. In 2009, the pop group Fangoria invited Montiel to record a track for the re-release of the band's album 'Absolutamente'. The title track, 'Absolutamente', became a Top 10 hit. After almost 40 years without making a film, she accepted a role in the comedy Abrázame / Hold (Óscar Parra de Carrizosa, 2011). The film was shot on location in Montiel's birthplace in La Mancha. According to the star, in this film, she dared to do "a parody of her old screen image, just for fun." Sara Montiel died in 2013 at home in Madrid. She was survived by her children, Thais and Zeus.
Sources: InfoMontiel, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Quinta edición del OBF. 2 días donde los sonidos Metal y Hardcore nos acompañaron y nos hicieron vibrar a los cerca de 1500 asistentes.
Bandas nacionales e internacionales que hacen de este festival un referente en la vetusta ciudad de Oviedo.
Tienes toda la información y las noticias de esta y de anteriores ediciones en nuestra página web.
Fotos realizadas por Noelia Amieva. Síguela en su página web, en Facebook y en Flickr
'EDICIONES ILIMITADAS' ALTERNATIVE FAIR
AAAAA was at the first edition of Ediciones Ilimitadas, Disc and Book Alternative Fair, an Antimuseo de Arte Contemporáneo project, thought as a place for public and independent music, video and book editors.