Silvia Pinal

 ( 1931 Births ) 

Pinal had an interest in show business since she was a child. In addition to film and music, she liked to write and recite poems.Pinal (1996), p. 15 She studied first at Pestalozzi College in Cuernavaca and then at the Washington Institute in Mexico City. Despite her artistic aspirations, her father cautioned her to look for "something useful", so she learned to typing. At age 14, she began working as a secretary at Kodak.

At the radio station, Pinal met publicists who invited her to join an experimental company. With that company, she debuted in the play Los caprichos de Goya. The director of this work was the Cuban-Mexican actor and director Rafael Banquells, with whom Pinal began an employment relationship and a close friendship that led to romance. Banquells got Carlos Laverne to allow them to use Mexico City's Ideal Theater for their productions. Laverne chose Pinal to participate in a montage with the company of the Ideal Theater, directed by the Spanish actress Isabelita Blanch. The work was called Nuestra Natacha. Pinal acted in numerous productions for this company. Her first starring role was in Un sueño de cristal.García Riera (1996), p. 22

Pinal won her first Silver Ariel as a supporting actress for her performance in the film Un rincón cerca del cielo (1952), where she worked again with Infante. In 1952, she performed with Joaquín Pardavé in the comedies Doña Mariquita de mi corazón and El casto Susano. In 1953, Pinal got her first starring roles in the films Reventa de esclavas (1953) and Yo soy muy macho (1953). In that same year, she performed in the musical film Mis tres viudas alegres, where she shared credits with Lilia del Valle and the Cuban rumba dancer Amalia Aguilar. They also starred in the comedy Las cariñosas. That same year, she acted with Libertad Lamarque in Si volvieras a mí.

Pinal gained success and recognition in 1954 after appearing in the film Un extraño en la escalera, directed by Tulio Demicheli, where she starred alongside Arturo de Córdova. Initially, de Córdova preferred either the Italian actress Gina Lollobrigida or the Cuban rumba dancer Rosa Carmina as his co-stars, due to his reservations about Pinal's youth. With the support of the producer Gregorio Walerstein, Pinal transformed her image, emphasizing her sex appeal, which ultimately led to de Córdova's approval for the role. The movie became a major success, solidifying Pinal's status as a leading film actress.García Riera (1996), p. 65–66

Another director who effectively utilized Pinal's acting skills was Alberto Gout. Under his direction, Pinal starred in La sospechosa (1954). Pinal participated in (1954), a film in which Pinal co-starred with actresses María Elena Marqués, Columba Domínguez and Irasema Dilián. With Tito Davison as director, Pinal also filmed the Mexican-Spanish-Chilean co-production Cabo de Hornos (1955), along with the actor Jorge Mistral. Pinal worked again with Pedro Infante as his co-star in the celebrated comedy El inocente (1955). Pinal starred in several films by Demicheli, including (1955), which would bring her first Ariel Award as best actress. Her second was thanks to her role in the film La dulce enemiga (1957), directed by Davison. In 1956, Pinal starred in Una cita de amor (1956), where she worked under the direction of Emilio Fernández.

Pinal's popularity and success in Mexico paved the way for her to work in Europe, following the advice of Demicheli. Her first project was the Spanish-Mexican co-production Las locuras de Bárbara (1958), directed by Demicheli. Under his direction, she also starred in the Spanish musical film Charlestón. Given the success of her films in Europe, Pinal was invited to work in Italy, co-starring with Vittorio de Sica and Elke Sommer in the film Uomini e Nobiluomini (1959). Under the direction of José María Forqué, Pinal starred in the Spanish film Maribel y la extraña familia (1960). In 1961, she filmed the Spanish musical film , along with Fernando Fernán Gómez.

Pinal had her first contact with Luis Buñuel through Mexican actor Ernesto Alonso, with the firm intention of starring in the film version of Pérez Galdós's novel Tristana in the 1950s. However, the tiny commercial success of Buñuel's films prevented the producers from financing the project. By the end of the 1960s, Buñuel shot the film in Spain with Catherine Deneuve instead. Years later, Pinal, with the help of her second husband, producer Gustavo Alatriste, looked for Buñuel in Spain and convinced him to film Viridiana (1961), also loosely based on a Pérez Galdós novel. It was the winner of the Palme d'Or at the Cannes Film Festival. Despite the success and prestige enjoyed by the film, it was rejected by the Spanish censorship board (Spain was under the Francoist Spain) and the Holy See at the time, who described the film as blasphemous. The film was saved through Pinal's intervention, when she fled to Mexico with a copy.Pinal (2015), p. 170 The Vatican censorship also resonated in Mexico, but with the help of Salvador Novo, the film had a limited release.

Pinal achieved international acclaim through a trilogy. Her second film with Buñuel was El ángel exterminador (1962), in which Pinal starred with a choral cast. The film also received critical acclaim worldwide. In 2004, The New York Times recognized it among the best films ever. Her third and last project with Buñuel was Simón del desierto (1964). The film, misrepresented as a medium-length feature, was initially conceived as an episodic film. Pinal and Gustavo Alatriste looked for Federico Fellini to direct a second episode, but Fellini accepted only on the condition that his wife, Giulietta Masina, star in it. They then sought out Jules Dassin, who likewise said he would accept the project only on the condition that his wife, Melina Mercouri, star; Pinal also rejected this condition. The idea was that Pinal should star in all the episodes, so Buñuel ended up filming the project himself. Interview with Silvia Pinal: Simón del desierto In the film, Pinal also made the first nude appearance in her career, an act still rare in Mexican cinema and the first nude scene in Buñuel's films.García Riera (1996), p. 108

Pinal was also on the verge of starring with Buñuel in the film Diary of a Chambermaid in France. She learned French and was willing to receive no pay for her role. However, French producer Serge Silberman ended up choosing Jeanne Moreau. Taller de Actores Profesionales (TAP): Silvia Pinal Pinal was also going to shoot with Buñuel in Spain on Divinas palabras, but there were problems obtaining a copyright for the film. Years later, Pinal finally shot the movie in Mexico with Juan Ibáñez, featuring a nude scene.

After her work with Buñuel, Pinal returned to the cinema with the comedy Buenas noches, año nuevo (1964), where she co-starred with Ricardo Montalbán. In 1966 she made the film , directed by José Bolaños and inspired by the Mexican Revolution. That same year, she participated in the Mexican-Brazilian co-production Juego peligroso, directed by Luis Alcoriza and based on a script by Gabriel García Márquez. She also appeared in the Franco-Italian-Mexican co-production Guns for San Sebastian, along with Anthony Quinn and Charles Bronson. In 1967 Pinal appeared in Shark!, with Burt Reynolds and directed by Samuel Fuller, making this the only Hollywood production in which Pinal appeared. Pinal starred in the film (1968), based on a popular cartoon by Yolanda Vargas Dulché. Between the late 1960s and early 1970s, Pinal mostly made comedy films directed by René Cardona Jr. In 1976, Pinal starred in , a psychological suspense thriller.

Pinal returned in 1992 with the movie Modelo Antiguo, directed by Raúl Araiza. The decline of Mexican cinema and Pinal's activities on television and in other fields, such as politics, reduced the time she spent making films. In later years, her film appearances were limited to Ya no los hacen como antes (2002) her first and only dubbing role in El Agente 00-P2 (2009) and a brief special appearance in Tercera llamada (2013), her last feature film.

In 1958, Pinal was responsible for producing Mexico's first musical comedy, Bells Are Ringing, directed by Luis de Llano Palmer. For this work, Pinal received an offer from Judy Holliday's manager to work on Broadway theatre, but Pinal refused to leave her career in Mexico.Pinal (1996), p. 133 In 1964 she made the Mexican version of the musical Irma La Douce, alongside Julio Alemán and directed by Enrique Rambal. José Luis Ibáñez ended up becoming her head theater director. Under his direction, Pinal starred in the work Vidas privadas. One of her most notable works in musical comedy was the Mexican version of Mame, a successful Broadway musical. Thanks to her success, Pinal starred in three productions (1972, 1985, and 1989). In 1976 she also starred in the Mexican version of the musical Annie Get Your Gun.

In 1977, to commemorate her twenty-five-year career anniversary, Pinal set up a cabaret show entitled ¡Felicidades Silvia!. The show was presented with great success, first at the nightclub El Patio and then at the Teatro de la Ciudad in Mexico City. In 1978, she starred in the musical Plaza Suite. Her daughter Viridiana's death truncated the theatrical project Agnes of God, in which both starred in 1982. In 1983, Pinal starred in and produced the Mexican montage of the work La señorita de Tacna, based on the work of Mario Vargas Llosa. In 1986, Pinal starred in Anna Karenina. In 1988, in association with Margarita López Portillo, Pinal acquired the Cine Estadio, located in Mexico City's Colonia Roma, transforming it into a theatrical venue, the Teatro Silvia Pinal. The theater was opened in 1989 with the third production of the musical Mame, with Pinal at the head of the cast. Several problems caused Pinal to close the theater, which ceased production in 2000 and became a religious temple.

In 1992, Pinal acquired the former Cine Versailles, located in Colonia Juárez in Mexico City, and turned it into her second theater, the Diego Rivera Theater. This theater opened in 1991 with the production Lettice and Lovage. In 1996, Pinal returned to musical theater with the second Mexican version of Hello, Dolly!, opposite Ignacio López Tarso. Pinal's last work in theater was Gypsy (1998), starring alongside her daughter, singer Alejandra Guzmán. Pinal returned to the theater in 2005 with the play Debiera haber obispas, She participated in productions such as Adorables enemigas (2008) and Amor, dolor y lo que traía puesto (2012). In 2014, the Diego Rivera Theater changed its name to become the new Silvia Pinal Theatre.

She produced the Mexican versions of the musicals A Chorus Line (1989), Cats (1991) and La Cage aux Folles (1992).

Pinal hosted Los Especiales de Silvia Pinal, a comedy-musical show on Televisa, in the mid-1960s. When Silvia married the actor and singer Enrique Guzmán, both produced and starred in the variety show Silvia y Enrique, which ran for four years (1968–1972). Once separated from Guzmán, Silvia continued her variety show titled ¡Ahora Silvia!

In 1985, she became a producer and presenter of the Mujer, casos de la vida real TV show. Initially, the show was created to respond to cases and needs of the public and focused on locating victims of the 1985 Mexico City earthquake. Over time, the show evolved to present current issues in daily life, including domestic violence, legal issues, and public health. This production was successful and lasted over 20 years. The program was canceled in 2007.

In 1968, Pinal debuted in telenovelas with the historical production Los Caudillos, inspired by the Mexican War of Independence. Ernesto Alonso produced the telenovela. Her second foray into the genre was with the telenovela ¿Quién? (1973), produced by Guillermo Diazayas and based on a cartoon by Yolanda Vargas Dulché.

Eventually, Pinal decided to produce her telenovelas; her first hit was Mañana es primavera (1982), the last acting work of her daughter Viridiana before her death. In 1985, she also produced and starred in Eclipse. She also produced the melodramas Cuando los hijos se van (1983) and Tiempo de Amar (1987).

Her later appearances were as a special guest star in various telenovelas and television series. These included Carita de ángel (2000), in which she replaced actress Libertad Lamarque following her death, Fuego en la sangre (2008), Soy tu dueña (2010) and Mi marido tiene familia (2017). In 2009, Pinal performed in an episode of the series Mujeres asesinas.