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Download Dolores del Río: Beauty in Light and Shade by Linda B. Hall PDF

By Linda B. Hall

Dolores del Río's drastically winning profession in Hollywood, in Mexico, and across the world illuminates problems with race, ethnicity, and gender during the lenses of attractiveness and megastar. She and her husband left Mexico in 1925, as either their well-to-do households suffered from the commercial downturn that the Mexican Revolution. faraway from being stigmatized as a lady of colour, this Mexican superstar was once said because the epitome of good looks within the Hollywood of the Nineteen Twenties and early Nineteen Thirties. whereas she insisted upon her ethnicity, she used to be however coded white via the movie and its lovers, and he or she seemed for greater than a decade as a romantic lead contrary white actors. Returning to Mexico within the early Nineteen Forties, she introduced enthusiasm and status to the Golden Age of Mexican cinema, turning into one of many nice divas of Mexican movie. With fight and perseverance, she overcame the impression of fellows in either nations who was hoping to dominate her, finally controlling her personal existence professionally and personally.

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Extra info for Dolores del Río: Beauty in Light and Shade

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Throughout her life, her mother, her beloved “Mumy,” would stay close to her, even when it meant leaving her father alone. This presence, as Dolores wove in and out of marriages, contracts, triumphs, and difficult moments, was of enormous importance to her. It was a trusting presence. ”8 Without her mother’s support, she might never have become the strong, confident, successful, and famous woman that she was. 9 Her father, in contrast, was a much more distant figure, appearing rarely in her reminiscences.

Films, came mostly after she returned to Mexico to live. In terms of cosmetics, she always emphasized her eyes, which were extraordinarily large and dark. S. counterparts. It is also possible that her still photographs were altered to make her skin look lighter. Indian­ness, however beautiful it might have been in the eyes of others, was not pleasing to her own high class in Mexican society, and it obviously had to be handled carefully, regardless of Carewe’s desires, in the United States. Yet another controversial issue is plastic surgery.

Dolores herself never glossed her ethnicity as Spanish, however, always claiming quite clearly her Mexican nationality. Social class emerges as another important issue here. Though Dolores was Mexican, she was in many ways much more sophisticated than most Americans, even those of similar economic means. Both her family and that of her spouse were well-to-do. Although they had suffered losses in the Revolution, they still maintained lifestyles that included European tours and homes of beauty and, in the case of the Martínez del Ríos, considerable grandeur.

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