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47-637: Mario Gilberto Agustin Martinez Solares (January 19, 1906 – January 18, 1997) was a Mexican director, cinematographer, screenwriter, and actor who is considered one of the most prolific filmmakers in Mexican cinema having directed more than 160 films, most of them written by him during the Golden Age of Mexican cinema . He is also recognized as the most important comedy director in Mexico. Gilberto Martínez Solares

94-552: A "Cantinflas" (or catchphrase) for the remainder of his career. The film was a breakthrough in Latin America and was later recognized by Somos magazine as the 10th greatest film produced largely in Mexico. On the other hand, Tin-Tan showcased a unique blend of humor, music, and dance in films such as El Rey del Barrio (1949) and El Ceniciento (1951), which elevates his popularity due to his charismatic performances. Antonio Espino y Mora, known by his stage name " Clavillazo ,"

141-433: A comic duo who found, through the form of white humor, to win the affection of the people. Viruta and Capulina began their career together in 1952, although individually had worked on other projects. They filmed more than 25 films. Although they do not have a large number of films together, Manuel Palacios "Manolín" and Estanislao Shilinsky Bachanska are also remembered in the comedy Golden Age for their great chemistry in

188-614: A director in 1938 with the film El Señor Mayor , starring Domingo Soler . From then on, his films successfully journeyed the most diverse genres, but always showed a predilection for comedy, farce, absurdity, and caricature. Some of his well-known films are Tender Pumpkins (1949) and The King of the Neighborhood (1950) that popularized the comedian Germán Valdés (Tin Tan). In 1978, Gilberto Martínez Solares formed, collectively with Adolfo Martínez Solares, his son, Santos and Alejandro Soberón,

235-506: A filmic universe and a particular style by mixing elements of classic film noir with Mexican folklore, urban environments, moral ambiguity, and existential crises. Examples include the classic film Gangsters Versus Cowboys (1948) and notable examples include Emilio Fernández's En la palma de tu mano (1951), which blends noir aesthetics with Mexican melodrama, and Roberto Gavaldón 's La noche avanza (1952), known for its atmospheric cinematography and exploration of corruption. Although

282-469: A new generation of directors like Emilio Fernández and Luis Buñuel, among others. Simultaneously, it propelled actors such as María Félix , Pedro Infante , and Dolores del Río to iconic status, revered not only in Mexico but also throughout Hispanic communities worldwide. Mexican cinema of the Golden Age is also credited with propelling Norteño music into Chilean popular culture . In 1939, Europe and

329-522: A photographic studio in partnership with his brother Raúl Martínez Solares and friend Gabriel Figueroa , located on Avenida Hidalgo, but did not have good results due to their inexperience. After the first failure, they established another studio located in Madero Street that was very successful, as it became the best studio, according to Figueroa. In 1930, his inclination to cinema led him to Hollywood, where he installed another studio and where he held

376-472: A response to the post-World War II entertainment demands. These films typically featured female protagonists known as "rumberas," who were glamorous and often portrayed as dancers or singers in cabarets or nightclubs. Key elements of rumberas films included lavish musical numbers, elaborate costumes, and melodramatic plots that often centered around the rumbera's rise from poverty to fame or her struggles in relationships. The popularity of rumberas films declined by

423-476: A young heiress who has arrived from Spain to claim an inheritance. Corona is a ladies' man who uses his good looks, romantic songs, and legendary status to melt the hearts of women, but his carefree lifestyle is turned upside down when he falls in love with the heiress. Tropical music that was popular in Mexico and Latin America since the 1930s was also reflected in Mexican cinema. Numerous music magazines were made in

470-551: Is referred to as the initiator of the "Mexican film industry". In the early 1940s began the emergence of great Mexican film studios located in Mexico City . They began to support the mass production of films. Among the most important are CLASA Films, FILMEX, Films Mundiales, Cinematográfica Calderón, Películas Rodriguez and Producciones Mier y Brooks. Mexican cinema continued to produce works of superb quality and began to explore other genres such as comedy, romance and musical. In 1943,

517-507: The Mexican film industry . In the beginning, Gilberto Martínez's interests were oriented to the study of law, but a health problem forced him to leave the university and travel to Los Angeles to treat a heart problem. Later, he began a career in law that was interrupted due to an erroneous medical diagnosis about the condition of his heart, for which, he moved to Los Angeles to undergo treatment. Upon his return to Mexico City in 1929, he established

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564-529: The Neorealism had claimed the careers of several filmmakers. The Swedish film with Ingmar Bergman made its appearance, while in Japan Akira Kurosawa appeared. Meanwhile, Mexican cinema had been stalled by bureaucracy and difficulties with the union. Film production was now concentrated in a few hands, and the ability to see new filmmakers emerge was very difficult due to the demands on the directors on

611-499: The US and Europe declined, because the materials previously destined for film production now were for the new arms industry. Many countries began to focus on making films about war, leaving an opportunity for Mexico to produce commercial films for the Mexican and Latin American markets. The cultural landscape of the Golden Age of Mexican Cinema provided a conducive environment for the rise of

658-636: The 1940s and 1950s. In these productions it was common to see figures such as Damaso Perez Prado , Toña la Negra , Rita Montaner , María Victoria or Los Panchos . However, the musical film in Mexico was mostly represented by the so-called Rumberas film , a unique cinematic curiosity of Mexico, dedicated to the exaltation of the figure of the "rumba" (dancers of Afro-Antillean rhythms). The main figures of this genre were Cubans María Antonieta Pons , Amalia Aguilar , Ninón Sevilla and Rosa Carmina and Mexican Meche Barba . Between 1938 and 1965, more than one hundred Rumberas films were made. The genre emerged as

705-538: The 1945 drama film The Shack , making him the first winner in that category. Domingo Soler was born in Chilpancingo , Guerrero as Domingo Díaz Pavía on 17 April 1901 to Domingo Díaz García and Irene Pavía Soler. He was the younger brother of Fernando Soler and Andrés Soler , as well as the elder brother of Julián Soler and Mercedes Soler . His family is known as the Soler Dynasty . This article about

752-414: The 1960s are considered the Golden Age of Horror and science fiction in Mexican cinema, during the Golden Age there were some remarkable works. El fantasma del convento (1934) directed by Fernando de Fuentes, this early Mexican horror film is set in a haunted convent and is considered one of the earliest examples of Mexican horror cinema. La Llorona (1933) Directed by Ramón Peón, this film draws from

799-508: The Carpas tradition was Adalberto Martínez , better known as "Resortes." Renowned for his distinctive and lively dance style, Resortes enjoyed a lengthy career spanning over 70 years in both film and television. His enduring popularity solidifies his status as an iconic figure in Mexican popular culture, celebrated for his vibrant performances and comedic prowess. Gaspar Henaine and Marco Antonio Campos , better known as "Viruta and Capulina", were

846-616: The Fray Bartolomé de las Casas primary school, where he shared the classroom and the hours of play with two future colleagues; Gabriel Figueroa and Alejandro Galindo with whom he maintained a close, friendly and professional relationship throughout his life. Between 1919 and 1924 he continued his secondary and preparatory studies at the San Ildefonso College . There, he was classmates with Renato Leduc , Salvador Novo and Xavier Villaurrutia , important Mexican writers associated to

893-501: The Golden Age. Cantinflas, known for his fast-talking and witty persona, became famous for his comedic timing and social commentary through films like El Analfabeto (1961) and El Padrecito (1964). But it was in 1940 that he finally became a movie star, after shooting Ahí está el detalle ("There's the rub", or directly translated as "There lies the detail"), with Sofía Álvarez , Joaquín Pardavé , Sara García , and Dolores Camarillo . The phrase that gave that movie its name became

940-551: The Mexican film industry found new sources of materials and equipment and secured its position in the production of quality films worldwide. During World War II, the film industry in France , Italy , Spain , Argentina and the United States focused on making war films, which made it possible for the Mexican film industry, with much more versatile themes in its films, to become dominant in the markets of Mexico and Latin America. Since

987-470: The Mexican legend of La Llorona (the Weeping Woman), a ghostly figure said to roam rivers mourning her lost children. El Vampiro (1957) directed by Fernando Méndez, this film marks the revival of Mexican horror in the mid-1950s and features a vampire who terrorizes a Mexican town. Chano Urueta greatest contributions come with The Magnificent Beast (1952), the film that first introduced wrestlers to

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1034-535: The United States participated in World War II, and the film industries of these regions were severely affected: Europe, due to its location, and the United States, because the materials used to produce films (such as cellulose ) became scarce and were rationed. In 1942, when German submarines destroyed a Mexican tanker, Mexico joined the Allies in the war against Germany . Mexico won the status of most favored nation. Thus,

1081-491: The beginning of talkies in Mexico, films such as Santa (1932), directed by Antonio Moreno and The Woman of the Port (1934), directed by Arcady Boytler , were huge blockbusters that showed that Mexico had the equipment and talent needed to sustain a strong film industry. One of the first blockbusters was the film Allá en el Rancho Grande by Fernando de Fuentes , which became the first classic of Mexican cinema; this film

1128-512: The defining films of his career. A Toda Máquina (1951) directed by Ismael Rodríguez , a comedy musical stars Pedro Infante and features lively musical numbers. Dos tipos de cuidado (1953) directed by Ismael Rodríguez, stars Pedro Infante and Jorge Negrete. This film is a beloved classic of Mexican cinema, combining comedy and drama in a story of friendship and rivalry. Lastly, Here Comes Martin Corona stars Sara Montiel as Rosario Medina,

1175-557: The emerging popularity of rumbera films. These films represented a departure from Fernández's earlier nationalistic and rural narratives, delving into urban concerns and narratives that aligned with evolving audience tastes and cinematic trends of the era. In Mexico, the film noir genre popular in Hollywood in the 1930s and 1940s was represented by the actor and director Juan Orol . Inspired by popular Gangster films and figures such as Humphrey Bogart and Edward G. Robinson , Orol created

1222-428: The film Wild Flower brought together a team comprising the filmmaker Emilio Fernández , photographer Gabriel Figueroa , actor Pedro Armendariz, and actress Dolores del Río . The films María Candelaria (1943) and The Pearl (1947) were considered pivotal works by Fernández and his team, and gave Mexican cinema enormous prestige, with their works being shown worldwide in major film festivals. María Candelaria

1269-401: The first Mexican actresses to achieve success in Hollywood during the early 20th century. Another pivotal film in her Mexican career is Las Abandonadas (1944), a melodrama that showcased her talent for portraying complex emotions with grace and sensitivity. Other noticeable films of this era include: Many comedians achieved recognition in Mexican cinema. From comic slapstick couples (in

1316-407: The genre, captivating audiences with their performances. Other actors, such as Luis Aguilar and Antonio Aguilar , made dozens of musical films that served as a platform to promote Mexican music. The songs of important composers like Agustín Lara or José Alfredo Jiménez served as the basis for the arguments of many films. Libertad Lamarque also highlighted performances where music and songs were

1363-405: The genre. Other works in the genre include La Bruja (1954), and Ladrón de Cadáveres (1956). El Castillo de los Monstruos (1958), directed by Julián Soler, is also comedic horror films of the 1950s that parodies classic horror tropes while incorporating Mexican cultural elements. On April 15, 1957, the whole country mourned with the news of the death of Pedro Infante. His death was one of

1410-420: The industry. Nevertheless, the award was revived in 1972 and has taken place annually since then. Domingo Soler Domingo Soler (born Domingo Díaz Pavia ; 17 April 1901 – 13 June 1961) was a Mexican actor and occasional screenwriter of the Golden Age of Mexican cinema . He appeared in over 150 films and wrote the screenplays for 2 films. Soler won an Ariel Award for Best Actor for his performance in

1457-558: The late 1950s as Mexican cinema diversified, but they remain a significant part of the country's cinematic history. Aventurera a 1950 Mexican drama film directed by Alberto Gout and starring Ninón Sevilla and Andrea Palma . It's considered a masterpiece of the Rumberas film. Salón México and Víctimas del Pecado marked a significant evolution in Fernández's directorial approach, focusing more on urban settings and themes that resonated with

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1504-618: The main protagonists. Mexican musicals enjoyed international success, particularly in Latin America and Spanish-speaking communities worldwide, due to their universal themes and musical numbers. Allá en el Rancho Grande (1936) directed by Fernando de Fuentes, is considered the earliest and most influential Mexican musical, a soundtrack that popularized ranchera music. ¡Ay Jalisco, no te rajes! (1941) directed by Joselito Rodríguez, stars Jorge Negrete and Gloria Marín . The film showcases Negrete's powerful singing voice and became one of

1551-450: The markers of the end of the Golden Age of Mexican Cinema. The first Mexican television transmissions started in 1950. By 1956, TV antennas were common in Mexican homes, and new media grew rapidly in the country outside the capital city. Despite the first black and white television pictures not having the clarity and sharpness of movie films, filmmakers immediately felt sharp competition from this new media, not only in Mexico but throughout

1598-427: The opportunity to photograph some of the greatest actors and actresses of the time. There, he also met several of his future colleagues such as René Cardona , Emilio Fernández , Chano Urueta , director Antonio Moreno , and cinematographer Alex Phillips who, once back in Mexico, invited him to work as a stillman in 1931. After his stay in the United States, he returned to Mexico to marry Diana Garza Cantú, daughter of

1645-578: The part of the Union of Workers of Cinematographic Production (STPC). Three of the most important film studios disappeared between 1957 and 1958: Tepeyac, Clasa Films and Azteca. Also in 1958, the Mexican Academy of Motion Picture Arts and Sciences decided to discontinue the Ariel Award recognizing the best productions of the national cinema. The Ariel was instituted in 1946 and emphasized the thriving state of

1692-521: The production company Frontera Films , of which he was president. In 1994, during the Ariel Awards , he received a special award recognition from the Mexican Academy of Film Arts and Sciences for his cinematographic and directorial career. He died on January 18, 1997, at the age of 90, due to cardiac arrest . Golden Age of Mexican cinema In 1939, during World War II , the film industry in

1739-400: The production of Santa , directed by Antonio Moreno , and decided to return to Mexico. In 1935, director Miguel Zacarías , through a cooperative, allowed the brothers Gilberto and Raúl Martínez Solares to make their debut as cinematographers in the film Rosario with Pedro Armendáriz and Gloria Morel . After several credits as a cinematographer and as a screenwriter, he began his career as

1786-515: The so-called Yu-Mex craze, as Mexican music and fashions were much imitated in Yugoslavia in the 1950s. The world was changing and so was the way film was produced by other countries. The elimination of censorship in the United States allowed a more bold and realistic treatment of many topics. In France, a young generation of filmmakers educated in film criticism began the New Wave movement. In Italy,

1833-446: The style of Laurel and Hardy ) to independent actors who achieved a huge poster, many of these comedians emerged from the "Carpas", traditional tent theaters that were popular in Mexico during the early 20th century. ¡Ay, qué tiempos, señor don Simón! (1941) directed by Julio Bracho and starring Joaquín Pardavé , was an example of classic early Mexican comedy, featuring Joaquín Pardavé's iconic character, Don Simón. Joaquín Pardavé,

1880-403: The theaters and later in the films. Known for their vibrant music, dance sequences, and melodramatic storytelling, Mexican musicals often incorporated elements of traditional Mexican folk music, such as rancheras and mariachi , alongside influences from European operetta and Hollywood musicals. Actors and singers such as Jorge Negrete , Pedro Infante , and María Félix became synonymous with

1927-457: The world. The competition forced the film industry to seek new ways to showcase its art, and in the treatment of subjects and genres. Technical innovations came from Hollywood. Wide screens, three-dimensional cinema, color improvement and stereo sound were some of the innovations introduced by American cinema during the early 1950s. At the time, the high cost of these technologies made it difficult for Mexico to compete; therefore, not for some years

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1974-623: The writer María Luisa Garza , novelist of the time and founder of the Mexican Institute for Child Protection . The couple went to live in Paris , where Gilberto placed another photographic studio. During his time in Europe, he met Pablo Picasso and the Japanese painter Tsuguharu Foujita . After a year living in the capital, Martínez Solares learned of the formal beginning of the Mexican film industry with

2021-675: Was a popular actor who captivated with the same dramatic or comic characters. Pardavé was also a composer and film director, and his beginnings in the industry with silent films made him a symbolic "father of all Mexican comedians" from the 1930s to the 1960s. Another classic film from the time was Los tres García (1946), directed by Ismael Rodríguez, starring Fernando Soler , Pedro Infante, and Abel Salazar . The film explored family dynamics and romance, blending humor with heartfelt moments of early Mexican comedy. Notable films include: Cantinflas and Tin-Tan (Mario Moreno and Germán Valdés respectively), were iconic figures in Mexican cinema during

2068-472: Was a prominent Mexican actor who commenced his career in the Carpas, with a prolific repertoire that includes over 30 films, Clavillazo remains celebrated as one of the most cherished and enduring figures in Mexican cinema and entertainment history. One of his most acclaimed movies is Pura Vida (1956) for popularizing the phrase pura vida , particularly in Costa Rica . Another notable artist who emerged from

2115-786: Was awarded in 1946 with the Golden Palm at Cannes Film Festival . The Pearl was the first Spanish-language film to be awarded a Golden Globe . The Soldiers of Pancho Villa brought Dolores del Río and her alleged rival María Félix together in one film. María Félix, celebrated for her fierce independence and commanding presence, rose to fame as an iconic actress during Mexican cinema's golden age. Often portraying strong and enigmatic characters, Félix captivated audiences with performances in classics such as Doña Bárbara (1943) and Enamorada (1946). Her acting career spanned 47 films made in Mexico, Spain , France , Italy and Argentina . In contrast, Dolores del Río gained prominence as one of

2162-701: Was born on January 19, 1906, in Mexico City . His father, Gilberto Martínez Medina , was an accountant that worked for the Madero government . In 1910, the Mexican Revolution broke out, and, as a result of the expanding violent environment in Mexico City, the Martínez-Solares family moved near Pénjamo , Guanajuato to the Hacienda de la Calle in 1913. Upon the family's return to Mexico City, Gilberto Martínez attended

2209-411: Was it able to produce films incorporating these innovations. One of the nations where Mexican cinema was most popular was Yugoslavia, where for much of the 1950s, Mexican films comprised the majority of the films that were screened. The 1950 film Un día de vida , which premiered in 1952 in Yugoslavia, was one of the most popular films of the decade in that nation. The popularity of Mexican films led to

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