Mexican cinema dates to the late nineteenth century during the rule of President Porfirio Díaz. Seeing a demonstration of short films in 1896, Díaz immediately saw the importance of documenting his presidency in order to present an ideal image of it. With the outbreak of the Mexican Revolution in 1910, Mexican and foreign makers of silent films seized the opportunity to document its leaders and events. From 1915 onward, Mexican cinema focused on narrative film.
Maria Antonieta Pons was a Cuban-born Mexican film actress and dancer. She was the first actress in the Rumberas films in the 1940s and 1950s, in the Golden Age of Mexican cinema. The Rumberas film genre offered a societal perspective on Mexico during the 40s-50s. It delved into the lives of women deemed as sinners or prostitutes, challenging the prevailing moral and social norms of their era.
Catalina Margarita López Ramos, known professionally as Marga López, was an Argentine-born Mexican actress.
The Golden Age of Mexican Cinema is a boom period in the history of Mexican cinema, which began in 1932 and culminated in 1969. It was characterized by the production of high-quality films that contributed to shaping Mexican national identity and culture. Films such as Luis Buñuel's Los Olvidados illuminated the social realities of Mexico, leaving a profound impact on audiences both within the country and abroad.
Leticia Lilia Amezcua Prado, known as Lilia Prado, was a Mexican actress and dancer. Noted for her beauty and on-screen sensuality, she was a famous star and sex symbol of the Golden Age of Mexican cinema.
Amalia Isabel Rodríguez Carriera, known professionally as Amalia Aguilar, was a Cuban-Mexican dancer, actress and comedian.
Emelia Pérez Castellanos, known professionally as Ninón Sevilla, was a Cuban-Mexican actress and dancer.
The Rumberas film was a film genre that flourished in Mexico's Golden Age of Mexican cinema in the 1940s and 1950s. Its major stars were the so-called rumberas, dancers of Afro-Caribbean musical rhythms. The genre is a film curiosity, one of the most fascinating hybrids of the international cinema.
María Victoria Ledesma Cuevas, known by her stage name Rosa de Castilla, was a Mexican singer and actress. She is noted as one of the great folkloric leading ladies of the "golden age" of Mexican cinema. In the musical field, she has toured the world singing in countries such as Israel.
To the Sound of the Mambo is a 1950 Mexican musical film directed by Chano Urueta and starring Amalia Aguilar, Adalberto Martínez and Rita Montaner. The film's sets were designed by the art director Ramón Rodríguez Granada. It was shot at the Churubusco Studios in Mexico City and on location in Havana. It was produced as a Rumberas film, a genre popular during the Golden Age of Mexican Cinema.
La ilusión viaja en tranvía is a 1954 Mexican film, written by Luis Alcoriza and directed by Luis Buñuel.
The Golden Boat is a 1947 Mexican musical comedy drama film directed by Joaquín Pardavé and starring Sofía Álvarez, Pedro Infante and Carlos Orellana. It was shot at the Azteca Studios in Mexico City. The film's sets were designed by the art director Edward Fitzgerald. It was in the tradition of Ranchera films, popular during the Golden Age of Mexican Cinema.
Love Love is a 1951 Mexican musical drama film directed by Miguel Morayta and starring Amalia Aguilar and Víctor Junco. The plot is inspired by the famous bolero of the same name by Pedro Flores. It is in the tradition of Rumberas films. It was shot at the Clasa Studios in Mexico City. The film's sets were designed by the art director Ramón Rodríguez Granada.
Lilia del Valle was a Mexican actress, a star in the Golden Age of Mexican cinema. She appeared in films such as Las tres alegres comadres (1952) and Las interesadas (1952), together with Amalia Aguilar and Lilia Prado, Mis tres viudas alegres (1953) and Las cariñosas (1953) with Silvia Pinal, Nadie muere dos veces (1953), with Luis Aguilar and Abel Salazar, and Esposas infieles (1956).
Music and Money is a 1958 Mexican musical comedy film directed by Rafael Portillo and starring Tito Guízar, Luis Aguilar and Pedro Vargas. The film's sets were designed by the art director Manuel Fontanals.
My Three Merry Widows is a Mexican comedy film directed by Fernando Cortés. It was filmed in 1953 and starring Amalia Aguilar, Lilia del Valle and Silvia Pinal. It is a sequel to the 1952 film The Three Happy Friends.
Two Cheap Husbands is a 1960 Mexican comedy western film directed by Jaime Salvador and starring Lilia Prado, Demetrio González and Julio Aldama.
When the Night Ends is a 1950 Mexican crime thriller film directed by Emilio Gómez Muriel and starring David Silva, Lilia Prado and Óscar Pulido. It was shot at the Azteca Studios in Mexico City. The film's sets were designed by the art director Jorge Fernández.
Hot Rhumba is a 1952 Mexican musical comedy film directed by Gilberto Martínez Solares and starring Adalberto Martínez, Lilia Prado and Óscar Pulido. It was shot at the Churubusco Studios in Mexico City. The film's sets were designed by the art director José Rodríguez Granada.
The Three Happy Compadres is a 1952 Mexican western musical comedy film directed by Julián Soler and starring Jorge Negrete, Pedro Armendáriz, Andrés Soler and Rebeca Iturbide. It was shot at the Churubusco Studios in Mexico City. The film's sets were designed by the art director José Rodríguez Granada. It is part of the tradition of Ranchera films, popular during the Golden Age of Mexican Cinema.
