Flixolé celebrates the centenary of Amparo Rivelles, first winning actress of the Goya

The next February 11 are 100 years of birth Amparo Rivelles and Flixolé collects legacy of the actress in ‘Centenary Amparo Rivelles’a collection composed of more than 20 films and series that includes in the successes that he starred in his first stage, the most remembered titles he filmed in Mexico, as well as the latest projects in which he worked on the small and big screen.

The Spanish cinema reference platform will also offer on its website unpublished material about the films in which it intervened, With scripts, photographs, posters and pressbooks from the extensive archive of the Mercury Films distributor.

Matriarch of one of the most important families of the performing arts, Rivelles was the star of the big screen during the 40 reaching international reach rolling under the orders of Orson Welles y Tulio Demichelis and later becoming the queen of Mexican soap operas.

After a stay in the Aztec country that extended more than 20 years, Rivelles returned to his native Spain, where, in addition to participating in new film and television projects, he added numerous awards. In addition to being the first to win the Goya for Best Actress, Rivelles also obtained The National Theater Award received the Medal of Honor of the Circle of Cinematographic Writers And, in 2006, The star on the Paseo de la Fame of Madrid.

The movie star in the 40s

All the stages of this Spanish cinema icon travel ‘Centenario Amparo Rivelles’, a collection that starts with the first film that starred the actress, with just 16 years old, ‘Soul of God’ (Ignacio F. Iquino, 1941). This adaptation of Carlos Arniches meant the beginning of a productive cycle of films with Rivelles as the head of Cifesa cartel.

‘Alma de Dios’ was followed by other titles that made the figures of the producer and fame of the actress who was the face of successful comedies such as ‘Eloísa is under an almond tree’ (Rafael Gil, 1943); Romances that exploited the fleet ‘Unwavering’ (Luis Marquina, 1942) and ‘Deliciously dumb’ (Juan de Orduña, 1943); as well as historical films in which it characterized María de Pacheco in ‘La Leona de Castilla’, or Queen Elizabeth, the Catholic in ‘Alba de América’ (both directed by Juan de Orduña, released in 1951).

Riveles shot one of the best feature films of the decade: ‘El Clavo’ (Rafael Gil, 1944), where he played Blanca, a young enigmatic who falls in love with a magistrate who will end up prosecuting a homicide case that involves her. Titles such as ‘Woman to woman’ (Luis Lucia, 1950) who starred with another of the stars of the moment, Ana Mariscal, or the intriguing ‘The street without sun’ (Rafael Gil, 1948).

Success in Mexico and return to Spain

Due to personal and professional circumstances, Riveles jumped to the other side of the puddle, thus initiating a new stage in the Mexican industry. But before he rolled at the orders of Orson Welles in the psychological thriller ‘Mr. Arkadin ‘ (1955). In Mexico it coincided with Tulio Demichelis, giving him the role of the haughty Isabel in ‘The luminous wound’ (1956), where he shared prominence with Arturo de Córdova, repeating both prominence in ‘Mrs. Morales’ skeleton’ (Rogelio A. González, 1959), Considered one of the best films of Mexican cinematography.

Between television snakes and feature films, 24 years passed until Amparo returned to Spain. The decision influenced the success of ‘The joy and the shadows’ (Rafael Moreno Alba, 1981), a series that adapted the rural drama written by Gonzalo Torrente Ballester and that combined passions with conflicts between chieftains and workers.

He had previously demonstrated his mature sensuality doing the prostitute who encaps ‘La Madrastra’ (Roberto Gavaldón, 1974). He shared plans with his nephew Luis Merlo, with whom he starred in a commented scene in ‘You have to undo the house’ (José Luis Gª Sánchez, 1986), a role that led her to be the first to obtain the Goya for Best Actress.