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Dolores del Río ((:doˈloɾes del ˈrio); born María de los Dolores Asúnsolo López-Negrete (August 3, 1905 – April 11, 1983), was a Mexican and American film, television and stage actress. She was a Hollywood star in the 1920s and 1930s, and one of the most important female figures of the Golden Age of Mexican cinema in the 1940s and 1950s.〔(''Dolores del Río: Maximum figure of the Golden Age of Mexican cinema'' )〕 Dolores del Río was the first major Latin cross-over star in Hollywood.,〔Hall (2013), p. 3〕〔(''Film International: The First Latina to Conquere Hollywood'' )〕 and was considered by critics and film historians, one of the most beautiful faces that have emerged in the Hollywood cinema.〔(''The Face of Deco: Dolores Del Rio by annette bochenek'' )〕〔(''Biography on TCM Archive'' )〕 With the passage of time, and even after her death, her physical characteristics and her lead role and influence as a Latin American female figure in the international cinema, have made her into an object of veneration in the cultural, artistic and cinematographic circles of Mexico and other countries.〔Hershfield (2000), p. 69〕〔Noble (2005), p. 88〕 After being discovered in Mexico by the filmmaker Edwin Carewe, Dolores began her film career in 1925. In the last years of the American silent cinema, Dolores came to be considered a sort of female version of Rudolph Valentino, a ''"female Latin Lover"''〔Hall (2013), p. 2,15〕 She had roles in a series of successful silent films like ''What Price Glory?'' (1926), ''Resurrection'' (1927) and ''Ramona'' (1928). With the advent of sound, she acted films like ''Bird of Paradise'' (1932), ''Flying Down to Rio'' (1933), ''Madame Du Barry'' (1934) and ''Journey into Fear'' (1943). 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 most important promoters and stars of the called Golden Age of Mexican cinema. A series of films including ''Flor silvestre'' (1943), ''María Candelaria'' (1943), ''Las Abandonadas'' (1944), ''Bugambilia'' (1944) and ''La Malquerida'' (1949), are considered classic masterpieces and they helped boost Mexican cinema worldwide. Del Río remained in force in the cinema of her native country for the next three decades and only returned to Hollywood sporadically. Her long career also spanned theater and television. ==Early life== María de los Dolores Asúnsolo y López Negrete〔 〕 was born in Durango, Mexico on August 3, 1905, into a wealthy family. Her parents were Jesus Leonardo Asúnsolo Jacques, son of wealthy farmers and director of the Bank of Durango, and Antonia López-Negrete, descendant of an ancient family of high lineage.〔Torres (2004), p. 11〕 Her parents were members of the old 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, Dolores was a cousin of the Mexican filmmaker Julio Bracho and the Mexican actors Ramón Novarro (one of the ''Latin Lovers'' of the Silent Cinema) and Andrea Palma (another superstar of the Mexican cinema). On her father's side, she was a cousin of the Mexican sculptor Ignacio Asúnsolo and the social activist María Asúnsolo. Her family lost all its assets during the Mexican Revolution (1910-1921). The wealthy families of Durango suffered at the hands of the Mexican revolutionary Pancho Villa.〔Torres (2004), p. 12〕 When the revolutionary forces attacked Durango, her mother pulled her out of bed, hid her in a big basket, and both rushed to the railroad station to catch the last train for Mexico City.〔Hall (2013), p. 24〕 Dolores and her mother settled in Mexico City, where they lived under the protection of then President Francisco I. Madero, who was a cousin of her mother. Dolores's father had to take refuge for three years in the United States. Two years later the Asúnsolo family was reunited. She studied at the Collège Français de Saint-Joseph,〔''colegio francés''〕 a prestigious religious school run by French nuns located in Mexico City. Since her childhood, she had a passion for dancing, admiring the great Russian ballerina Anna Pavlova. Dolores was deeply impressed when she met the Argentine dancer Antonia Mercé ''La Argentina'', famous for her interpretive dances which Dolores began to imitate.〔Torres (2004), p. 14〕 She had been dancing almost as soon as she could walk, but now she wanted to apply herself seriously to the art of the dance. She took ballet lessons with Felipita López. Adding such moves to her natural grace, the young girl attracted a lot of attention, especially from men.〔Hall (2013), p. 26〕 In 1921, a group of Mexican aristocratic ladies led by Doña Barbarita Martínez del Río decided to organize a dancing party to benefit a local hospital in the Teatro Esperanza Iris. They chose Dolores to perform “Spanish” dances. In this party Dolores met the son of Doña Barbarita, the Mexican aristocrat Jaime Martínez del Río y Viñent. Son of a wealthy family who had lost nothing during the Revolution, Jaime had been educated in England and had spent some time in Europe. Martínez del Río was captivated by Dolores and she was captivated by his interesting culture. The couple began a discreet romance. After a two-month courtship, Dolores married Jaime on 11 April 1921. He was 34. She was 16. Their honeymoon in Europe lasted two years. During that time the young bride entered an entirely new and exciting world, one far removed from the stifling restraints of the conservative Mexican upper class. Jaime’s connections and his wife’s beauty and intelligence got them invited into the homes of the European social and artistic aristocracy. Among their friends were The Duke of Alba, Luis Fernández, The Duke of Medinaceli, Carlos de Beistegui and even The King of Spain Alfonso XIII and the Queen Victoria Eugenie.〔Torres (2004), p. 17〕 In 1924, the couple reluctantly returned to Mexico, accompanied by a new automobile and Jaime’s Spanish man-servant Felix. They decided to live on Jaime’s country estate, where cotton was the main crop. Life in the country, perhaps idyllic at first, quickly became boring to the couple who began to miss their glamorous circuit of parties, concerts, museums, and art studios. The two concocted a plan to limit their stay in Mexico to two years, during which time Jaime would make a fortune from cotton crops, and then return to Europe. However, when the bottom fell out of the cotton market, Jaime lost his entire fortune. Another loss was suffered when Dolores miscarried. She was told never to try to have another child. The couple then settled in Mexico City, where they continued their lavish lifestyle with the help of their families. In early 1925, Edwin Carewe, an influential director at First National Films, had traveled to Mexico for the wedding of actors Bert Lytell and Claire Windsor, where he met Dolores and her husband.〔Franco Dunne (2003), p. 14〕 Carewe was impressed by Dolores and later arranged a meeting with her and her husband through the Mexican poet Salvador Novo and the artist Adolfo Best Maugard. Carewe fell under her spell and cajoled the couple into moving to Hollywood. Like so many producers and directors, Carewe began openly courting the young woman and invited her to come to Hollywood for a screen test (“and, oh, by the way, maybe we can get a screenwriting job for your husband”). That’s all Jaime needed to hear since he had harbored dreams of becoming a Hollywood screenwriter. This seemed to be a way out of their present financial embarrassment. Or, at the very least, it might be fun. Dolores was thrilled by the idea but fearful of her parents’ reaction. Surprisingly her mother was enthusiastic, running completely counter to the reaction of much of the rest of the Mexican upper class who equated acting (film and stage) with prostitution.〔(''Austin Film.org: Dolores del Río in Hollywood'' )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Dolores del Río」の詳細全文を読む スポンサード リンク
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