Madrid, (EFE) EFE his son, Augusto Algueró.
Last Sunday she was transferred to a hospital in the Spanish capital, where she died.
Born on October 16, 1930 in Seville (south), she had suffered from Alzheimer’s since 2009 and due to her very deteriorated health, she was admitted to a residence in Aravaca (Madrid) in March 2015.
The actress began her professional career at the age of 14 as a dancer and at the age of 17 she began her film career, which led her to participate in major international productions shot in Spain, such as “Marco Antonio y Cleopatra” together with the American actor Charlton Heston.
Carmen Sevilla: the most famous tapes of the postwar box office queen
Carmen Sevilla lived the last years of her professional life as a television icon, between spontaneous comments on the “Telecupón” or her surreal retransmissions of the end of the year chimes, but before that, the “girlfriend of Spain”, the ” Taming of the Shrew”, was a movie star.
Few young people who today look at the personality of Carmen Sevilla, who died in Madrid at the age of 92 after suffering from Alzheimer’s, will know that in the 50s, 60s and 70s she not only unleashed passions due to her great beauty, but also her film career, with more than seventy films, including the most notorious successes of post-war and uncovering Spanish cinema, or who starred in the first Spanish film selected for the Oscars.
These are some of the most prominent:
“Vengeance” (1958), a story of love and drama
“La venganza”, the Juan Antonio Bardem film in which Carmen Sevilla gave life to the vengeful sister of an ex-convict in rural Spain, was the first Spanish film to be nominated for the Oscar for Best Foreign Language Film.
Seville, which shared the bill with Raf Vallone and Jorge Mistral, was spectacular in this new version of the folkloric, superb in its dramatic role.
From “Sister Saint Sulpice” to “Imperial Violets”: His Francoist “blockbusters”
At barely 20 years old, the image of the Sevillian artist was already occupying the posters of her films alone, famous musicals such as “La revoltosa” or “Los cuentos de la Alhambra”, and very soon, as a couple of the most prestigious actors in the time – which, almost always, could be his parents -, like the tenor Luis Mariano, with whom he filmed “El sueño de Andalucía” (1951); “Imperial Violets” (1952) and “La bella de Cádiz” (1953).
Luis Lucia captured her to star in “La hermana San Sulpicio” along with the handsome Jorge Mistral, another box office hit at a time when folklore, bullfights, religious fervor and easy tears were sweeping postwar audiences. Also from that period are “La pícara millera” (1954) or “The Taming of the Shrew” (1955).
“The balcony of the moon”, its most comical side, with Lola Flores
Carmen Sevilla was the Spanish version of Hollywood divas. Her great guy in the taste of the time with a wasp waist, her sweet voice for coplas, with her Sevillian spark, and a beauty that neither Alzheimer’s nor the more than ninety years she lived could not quench, soon turned her into ‘the girlfriend of Spain’.
And from Latin America. Carmen Sevilla, who did the ‘Americas’ many times with her friends Paquita Rico (another beauty) and Lola Flores (a force of nature), the three of them unforgettable, hilarious, in “El balcón de la luna” (1962), wearing impossible wigs and fake moles on their cheeks, with which they performed at the local variety.
He also did ‘remakes’. Seville made a French version of “El sueño de Andalucía” (“Andalousie”), also with Luis Mariano, directed by Robert Vernay, and shortly after “Muchachas de Bagdag” (“Babes in Bagdad”, Edgar G.Ulmer).
He also participated in major international productions shot in Spain such as “Rey de Reyes” (1961) by Nicholas Ray; “Adventure for two” (1958), by Donald Siegel, or “Marco Antonio and Cleopatra” (1972), together with Charlton Heston.
“The glass ceiling”, his first uncovering without full nude
The modest Carmen Sevilla joined the uncover cinema but never in full nude; Although she had made erotic tapes that fed the imagination, her first “reveal” was “El techo de cristal” (1971), with Eloy de la Iglesia, where for the first time she showed a statuesque body with long legs and a chest that she herself she felt proud.
Later would come “The apartment of temptation”, “It is not good for the man to be alone” (where he played a prostitute, 1973) or the most erotic of all “La loba y la paloma” (1974). For the curious, Carmen had just separated from her husband Augusto Algueró, who had been unfaithful to her, and wanted to “take revenge” on her with these scantily clad papers.
“Sex or no sex” (1974), “Sleep and flirt is all beginning” (1974), “A cabaret woman” (1974), “Naked therapy” (1975), “English striptease” (1075) or “The promise” (1976).
“Nosotros los decentes (1978) by Mariano Ozores, and after shooting “Faces” he withdrew from the film world.