Dolores del Río (Spanish elocution: [doˈloɾes del ˈrio]; conceived María de los Dolores Asúnsolo López-Negrete; August 3, 1904[1] – April 11, 1983) was a Mexican on-screen character. She was the main significant female Hispanic traverse star in Hollywood,[2][3][4][5] with an exceptional vocation in American movies in the 1930s. She was likewise viewed as one of the more imperative female figures of the Golden Age of Mexican silver screen in the 1940s and 1950s.[6] Del Río is recognized as a standout amongst the most wonderful appearances of the film in her time.[7] Her long and changed vocation spread over noiseless film, sound film, TV, stage and radio.
Dolores del Río
Dolores del Río in a reputation photograph (1933)
Born María de los Dolores Asúnsolo y López-Negrete
August 3, 1904
Durango, Durango, Mexico
Died April 11, 1983 (matured 78)
Newport Beach, California, U.S.
Reason for death Liver illness
Resting place The Rotunda of Illustrious Persons, Dolores Cemetery, Mexico City, Mexico
Occupation Actress
A long time active 1925–1978
Spouse(s)
Jaime Martínez del Río
(m. 1921; div. 1928)
Cedric Gibbons
(m. 1930; div. 1940)
Lewis A. Riley
(m. 1959; her passing 1983)
Partner(s) Orson Welles (1940–1943)
Parent(s) Jesus Leonardo Asúnsolo Jacques
Antonia López-Negrete
Relatives Ramon Novarro [cousin] (1899–1968)
Andrea Palma [cousin] (1903–1987)
Mark
In the wake of being found in Mexico by the movie producer Edwin Carewe, she started her movie vocation in 1925. She had parts in a progression of effective quiet movies like What Price Glory? (1926), Resurrection (1927) and Ramona (1928). Amid this period she came to be viewed as a kind of ladylike variant of Rudolph Valentino, a "female Latin Lover".[8] With the approach of sound, she acted in movies that included Bird of Paradise (1932), Flying Down to Rio (1933), Madame Du Barry (1934) and Journey into Fear (1943). In the mid 1940s, when her Hollywood profession started to decrease, del Río came back to Mexico and joined the Mexican film industry, which around then was at its pinnacle.
At the point when del Río came back to her local nation, she wound up noticeably one of the more vital promoters and stars of the Golden Age of Mexican silver screen. A progression of movies, including Wild Flower (1943), María Candelaria (1943), Las Abandonadas (1944), Bugambilia (1944) and The Unloved Woman (1949), are viewed as exemplary magnum opuses and they helped support Mexican silver screen around the world. Del Río stayed dynamic in Mexican movies all through the 1950s. She likewise worked in Argentina and Spain.
In 1960 she came back to Hollywood. Amid the following years she showed up in Mexican and American movies. From the late 1950s until the mid 1970s she additionally effectively wandered into theater in Mexico and showed up in some American TV arrangement. Del Río played out her last screen appearance in 1978. After a time of idleness and sick wellbeing, del Río kicked the bucket in 1983 at 78 years old.
Dolores del Río is a legendary figure in Latin America and is viewed as, delegate, second to none, of the female face of Mexico in the entire world.[9]
