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Golden Age of Mexican cinema. Pedro Infante's bust in the place he died. Hailed as one of the greatest actors of the Golden Age of Mexican cinema, he is considered an idol of the Latin American people.

The Golden Age of Mexican cinema (in Spanish Época de Oro del Cine Mexicano) is a period in the history of the Cinema of Mexico between 1. Mexican film industry reached high levels of production, quality and economic success of its films, besides having gained recognition internationally. The Mexican film industry became the center of commercial films in Latin America. The Golden Age began symbolically with the film Vámonos con Pancho Villa (1. Fernando de Fuentes.

In 1. 93. 9, during World War II, the film industry in 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 the opportunity to Mexico, to produce commercial films for the Mexican and Latin American markets.

This cultural environment favored the emergence of a new generation of directors and actors considered to date, icons in Mexico and in Hispanic countries and Spanish- speaking audiences. Origins[edit]In 1. Europe and the United States participated in the 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 1. 94. 2, 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, 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 war films, which made it possible the Mexican film industry, with much more versatile themes, became dominant in the markets of Mexico and Latin America. Since the beginning of talkies in Mexico, some films (like Santa (1. Antonio Moreno and The Woman of the Port (1. Arcady Boytler, were a huge blockbuster 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 is referred to as the initiator of the "Mexican film industry".[2]In the early 1. Mexican film studios settled in Mexico City, they begin 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, among others.

The Golden Age[edit]The Mexican cinema continued to perform works of superb quality and began to explore other genres like comedy, romance and musical. In 1. 94. 3, the film Wild Flower, brought together a film team comprising the filmmaker Emilio Fernández, the photographer Gabriel Figueroa, the actor Pedro Armendariz and actress Dolores del Río. The films María Candelaria (1. The Pearl (1. 94. Watch Family Guy Season 14 Episode 18. Fernandez and his team, and filled Mexican cinema enormous prestige, pacing worldwide in major film festivals. María Candelaria was awarded in 1.

Golden Palm in the Cannes Film Festival. The Pearl was awarded the Golden Globe of the American film industry, being the first Spanish film to receive such recognition.[3]The Mexican cinema in its Golden Age, mimicked the Star System that prevailed in Hollywood. Thus, unlike other film industries in Mexican cinema began to develop the "cult of an star", a situation that led to the emergence of stars caused a sensation in the public and became real idols, in a way very similar to that of American film industry. However, unlike what happened in Hollywood, Mexican film studios never had total power over the big stars, and this allowed these shine independently and develop in a huge multitude of genres, mainly figures emerged in Mexican cinema in the early 1. Among the figures that reached the level of idols in the Mexican cinema, he emphasizes Pedro Infante. Trying to explain the phenomenon Pedro Infante is, at this point, a useless enterprise.

His first films were not aimed toward creating a myth. The result of his meeting with the director Ismael Rodríguez in the film Nosotros los pobres (1. Infante within the mythology of Mexican cinema. For many, Infante represented what every Mexican should be: a dutiful son,an unconditional friend, a romantic lover. In the extensive gallery of stars of Mexican cinema Pedro Infante is the only one who could unify public sentiment.

His popularity has continued to grow as new generations are added. His figure remains the most important in Mexican cinema.[4]Other of the early mass idols in Mexican cinema was Jorge Negrete. In addition to his role as an actor, Negrete was also a prominent singer and one of the leading representatives of Mexican ranchera music.

Negrete was one of the highest grossing actors of Latin American Cinema during almost the entire decade of the 1. His premature death caused one of the first collective chaos in Mexico. Maria Félix was an exceptional case in the Mexican Cinema. Woman of an stunning physical beauty and strong personality, which immediately dominated the roles of "femme fatale" in Mexican movies.

Before the success of Maria Félix, the women were in supporting roles (self- sacrificing mothers, submissive girlfriends). Based on the success of Félix, more movies with female themes began to be realized. The film Doña Bárbara (1. Maria Felix as La Doña. The unique real personality of María merged with her filmic personality leading to one of the most fascinating myths of the seventh art. Her legend was forged without her moving a finger.[5] The imagination of the people did all the work. Dolores del Rio at her best moments, represented one of the highest ideals of the Mexican female beauty.

The myth of Dolores del Rio did not begin in Mexico, but in Hollywood, where the actress reached the status of "Diva" in the 1. Hispanic origin. After a more than worthy career in Hollywood, Dolores returned to Mexico, where she managed to maintain and even raise the prestige that her enjoyed in the American film industry, thanks to a series of films made especially for her, for her eternal admirer, the filmmaker Emilio Fernandez, where the strips away the stony image acquired in Hollywood and highlights her indigenous features. Films like Wild Flower and Maria Candelaria(1.

Mexico around the world, and Dolores del Río became a national symbol, after being, for many years, a symbol of "the Mexican" abroad. One of the faces that captivate the audiences was Pedro Armendariz. Although his veins did not run a single drop of Indian blood, Armendariz managed to embody the Mexican essence better than any other actor in Mexico. This - shared appreciation for historians, critics, colleagues and admirers, is based significantly on the characters that the actor starred under the direction of Emilio Fernandez.[6] Later, Armendariz dabbled in Hollywood and some European countries.[7]Arturo de Córdova was another prominent male figure of Mexican Cinema. His specialty were the roles of tormented men who often sank into madness. His good looks and contrived elegance made him famous.

He was certainly one of the most requested heartbreakers by Hispanic women. Always surrounded himself with female beauty deals breathers, while his graying temples were becoming a personal and nontransferable brand. Mario Moreno, Cantinflas, was a comedian and mime, who emerged from the popular theater. He achieved great popularity in the cinema with his portrayal of the character Cantinflas, a charismatic poor man, a "friendly neighbor" with quite a peculiar speech. The character of Cantinflas was to Mario Moreno as The Tramp was to Charles Chaplin.

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