09 February 2026

Jackie Chan

Cheeky and lovable Jackie Chan (1954) is an actor, former stuntman, singer and Kung Fu expert from Hong Kong. He is best known for the 'comic Kung Fu film', which he more or less invented. He always performs the acrobatic stunts himself. Chan also directs, writes and produces many of his films himself. He also released several Chinese records as a singer. Worldwide, he has millions of fans and is considered the most successful Chinese actor of all time.

Jackie Chan
Hong Kong postcard.

Jackie Chan
Hong Kong postcard.

Cashing in on the success of Bruce Lee


Jackie Chan was born as Fang Shilong (Cantonese: Fôong Sie-Long) 房仕龍 in 1954 on Hong Kong's famous Victoria Peak. He later took the name Chen Jiangsheng (Cantonese: Chan Kwôong-Saang) 陳港生. His parents were Charles and Lee-Lee Chan, and both worked for the French embassy in Hong Kong. In the early 1960s, the family immigrated to Canberra, Australia. The young Jackie was bad at school, so his father sent him back to Hong Kong to attend the rigorous China Drama Academy, one of the Peking Opera schools.

Chan excelled at acrobatics, singing and martial arts. Jackie eventually became a member of the Seven Little Fortunes performing troupe and began lifelong friendships with fellow martial artists/actors Sammo Kam-Bo Hung and Biao Yuen. Chan journeyed back and forth to visit his parents and work in Canberra, but eventually he made his way back to Hong Kong as his permanent home. Chan started singing in the 1970s. He is a well-known singer, especially in Asia.

He studied at the Chinese Academy of Dramatic Arts from 1971 to 1973. While still a student, he started working as a stuntman for major film studios such as Shaw Brothers and Golden Harvest. Interestingly, he appeared in minor roles in two films starring Bruce Lee: Jing wu men / Fist of Fury (Wei Lo, 1972) and the Warner Bros. production Enter the Dragon (Robert Clouse, 1973).

Not long after Lee's untimely death, Chan was often cast in low-budget martial arts films that were churned out at a rapid-fire pace by Hong Kong studios eager to satisfy the early 1970s boom in martial-arts cinema. His films cashed in on the success of Bruce Lee by utilising words like "fist", "fury" or "dragon" in their US release titles. In 1976, he starred in Shao Lin mu ren xiang / Shaolin Wooden Men (Chi-Hwa Chen, 1976).

He scored a breakthrough with the action comedy Jui kuen / Drunken Master (Yuen Woo-Ping, 1978), which has become a cult favourite among martial arts film fans. In this film, he played the historical figure Wong Fei Hung. Drunken Master was a huge success, but also received a lot of criticism: viewers felt that Chan ridiculed the legendary Wong Fei Hung by portraying him as an alcoholic in the film. Drunken Master is a mixture of Kung Fu and slapstick, in which Wong Fei Hung invents a technique that allows him to fight while drunk. Not too long after this, Chan made his directorial debut with Shi di chu ma / The Young Master (Jackie Chan, 1980).

Jackie Chan
Chinese (Hong Kong) postcard by South China Morning Post, no. 11, Series 3 Leisure.

Jackie Chan
British postcard by the London Postcard Company, no. JC 5940. Photo: J.S. Library, 2001.

Jackie Chan in Supercop (1992)
Spanish poster postcard by Memory Card, no. 546. Spanish poster of Jackie Chan in Ging chaat goo si III: Chiu kup ging chaat / Supercop (Stanley Tong, 1992).

Elaborate, dangerous stunts combined with martial arts and slapstick humour


Jackie Chan's popularity soared. Enter the Dragon producer Robert Clouse lured Jackie to the United States for a film planned to break Jackie into the US market. The low-budget action film Battlecreek Brawl (Robert Clouse, 1980) featured Jackie competing in a 'toughest Street fighter' contest set in 1940s Texas. Jackie was unhappy with the result, and the film failed to fire with US audiences. In a further attempt to get his name known in the United States, Jackie was cast alongside Burt Reynolds, Sir Roger Moore and Dean Martin in the car chase film The Cannonball Run (Hal Needham, 1981).

Regrettably, Jackie was cast as a Japanese race driver, and his martial arts skills are only shown in one small sequence near the film's conclusion. Undeterred, he returned to East Asia and directed, produced and starred in 'A' gai wak / Project A (Jackie Chan, Sammo Kam-Bo Hung, 1983), loaded with amazing stunt work. It became the most successful Hong Kong film that year. It was the official formation of the Jackie Chan Stunt Team and established Chan's signature style of elaborate, dangerous stunts combined with martial arts and slapstick humour.

Chan paired again with the dynamic Sammo Kam-Bo Hung to star in Qi mou miao ji: Wu fu xing / Winners & Sinners (Sammo Kam-Bo Hung, 1983), Fai caan che / Wheels on Meals (Sammo Kam-Bo Hung, 1984), Fuk sing go jiu / My Lucky Stars (Sammo Kam-Bo Hung, 1985) aka Winners & Sinners 2, and Xia ri fu xing / Twinkle Twinkle Lucky Stars (Sammo Kam-Bo Hung, 1985) aka Winners & Sinners 3. Chan then journeyed back to the United States for another shot at that market, starring alongside Danny Aiello in The Protector (James Glickenhaus, 1985), filmed in Hong Kong and New York. However, Jackie felt American directors failed to understand his audience appeal, and the film received lukewarm reviews and box-office receipts.

Back in Hong Kong, he made Ging chaat goo si / Police Story (Jackie Chan, 1985), filled with large-scale action sequences. The elaborate, dangerous stunts performed by Chan and his stunt team, including car chases, Chan hanging off a speeding bus, parkour-like acrobatics, and a shopping mall fight with shattering glass panes, leading up to Chan sliding down a pole with exploding electric lights as he falls to the ground.

The following year, he broke his own record with Armour of God (Jackie Chan, Eric Tsang, 1986), influenced by Raiders of the Lost Ark (Steven Spielberg, 1981). During filming, Jackie mistimed a leap from a wall to a tree on location in Yugoslavia and fell quite a few feet onto his head, causing a skull fracture. Armour of God was the most successful Hong Kong film of that year.

Jackie Chan in Rush Hour 2 (2001)
Vintage postcard by CineFilm(s). Jackie Chan in Rush Hour 2 (Brett Ratner, 2001).

Around the World in 80 Days (2004)
Dutch postcard by Young Media Group. Image: Walden Media / Independent Films. Poster for Around the World in 80 Days (Frank Coraci, 2004) with Jackie Chan, Steve Coogan and Cécile de France was based on the novel by Jules Verne.

A bona fide star in the United States


In the years that followed, Jackie Chan founded his own production company, which allowed him to produce his own films independently of the major film studios. Between 1985 and 1993, Chan made more than 40 films, many of which starred Chinese comedian Sammo Hung. For a long time, Chan's work was considered pulp by critics, and Chan wanted to be taken seriously as an actor. He made Pinyin / Miracles (Jackie Chan, 1989), a historical drama in which Chan himself also starred. The film was both a critical and commercial success and is Chan's only film that is not a Kung Fu film.

In 1993, Chan embarked on his second attempt at a Hollywood career, this time with more success: Hung fan kui / Rumble in the Bronx (Stanley Tong, 1995) successfully blended humour and action and brought Chan into the North American mainstream. Chan made his definitive breakthrough with the big-budget action comedy Rush Hour (Brett Ratner, 1998), starring alongside fast-talking comedian Chris Tucker. The film was a bigger hit than Rumble in the Bronx and firmly established Jackie as a bona fide star in the United States.

Jackie then paired up with rising talent Owen Wilson to star in Shanghai Noon (Tom Dey, 2000) and its sequel, Shanghai Knights (David Dobkin, 2003). He re-teamed with Tucker in Rush Hour 2 (Brett Ratner, 2001), as well as starring in The Tuxedo (Kevin Donovan, 2002), The Medallion (Gordon Chan, 2003) and as Passepartout in the delightful Around the World in 80 Days (Frank Coraci, 2004), with Steve Coogan as Phileas Fogg.

Not one to forget his loyal fanbase, Jackie returned to more gritty and traditional fare with San ging chaat goo si / New Police Story (Benny Chan, 2004) and San wa / The Myth (Stanley Tong, 2005). The Forbidden Kingdom (Rob Minkoff, 2008) marked his first collaboration with fellow martial arts star Jet Li. He played martial arts mentor Mr. Han in two Karate Kid films, the remake The Karate Kid (Harald Zwart, 2010) and Karate Kid: Legends (Jonathan Entwistle, 2025) with Ralph Macchio.

Jackie Chan is married and has two children. In 1982, he married Lin Feng-Jiao, an actress from Taiwan. A year later, they had a son, Jaycee Chan, who is now also an actor. In 1999, Chan had a daughter, Etta Ng, with Miss Asia 1990, Elaine Ng Yi-Lei. In China, Chan announced that he would donate half of his fortune after his death to the Gates Foundation, which supports poor children. Chan's fortune was estimated at $350 million in 2015.

Jackie Chan and Owen Wilson in Shanghai Knights (2003)
Vintage postcard by Art Card, Singapore, no. 445, 2003 (1 in a series of 6 collectable postcards). Photo: Buena Vista Pictures Distribution / Spyglass Entertainment Group / Mediacorp. Jackie Chan and Owen Wilson in Shanghai Knights (David Dobkin, 2003).

Jackie Chan and Owen Wilson in Shanghai Knights (2003)
Vintage postcard by Art Card, Singapore, no. 447, 2003 (1 in a series of 6 collectable postcards). Photo: Buena Vista Pictures Distribution / Spyglass Entertainment Group / Mediacorp. Jackie Chan and Owen Wilson in Shanghai Knights (David Dobkin, 2003).

Jackie Chan
Vintage card, no. 1756.

Source: Wikipedia (Dutch and English) and IMDb.

08 February 2026

Jana Brejchová (1940-2026)

Last Friday, 6 February 2026, alluring Czech film actress Jana Brejchová (1940-2026) passed away in Prague. She appeared in more than 70 films since her debut in 1953 at the age of 13. The beautiful blonde actress was married to director Miloš Forman and East German actor Ulrich Thein. She worked with such noted directors as Vojtěch Jasný, Oldřich Lipský and Jiří Weiss, and her films often entered the major European festivals. Jana Brejchová was 86.

Jana Brejchová in Touha (1958)
East German postcard by VEB Progress Film-Vertrieb, no. 1011, 1959. Photo: publicity still for Touha / Desire (Vojtech Jasný, 1958).

Jana Brejchová in Der Traum des Hauptmann Loy (1961)
East German postcard by VEB Progress Film-Vertrieb, no. 1565, 1961. Photo: DEFA / Pathenheimer. Publicity still for Der Traum des Hauptmann Loy / The Dream of Captain Loy (Kurt Maetzig, 1961).

Jana Brejchová
East German postcard by VEB Progress Film-Vertrieb, no. 27/71.

Jana Brejchová
Romanian postcard by Casa Filmului Acin, no. 43078.

Jana and Hana


Jana Brejchová was born in 1940 in Prague, Protectorate Bohemia and Moravia (now the Czech Republic). Her younger sister Hana Brejchová (1946) also became an actress who appeared in the Miloš Forman films Lásky jedné plavovlásky / Loves of a Blonde (1965) and Amadeus (1984).

Jana made her film debut at the age of 13 in Olověný chléb / Lead bread (Jirí Sequens, 1953). One of Jana’s next films was Žižkovská romance / A Local Romance (Zbyněk Brynych, 1958) with Hanus Bor. It was entered into the 1958 Cannes Film Festival. Her next film, Touha / Desire (Vojtěch Jasný, 1958), was also entered into the 1959 Cannes Film Festival.

Another success was Vlcí jáma / Wolf Trap (Jiri Weiss, 1958). The film established director Jiri Weiss as one of the major figures of Czechoslovakia's emerging film industry in the post-war era. It won Weiss the FIPRESCI award at the Venice Film Festival, and the film itself was nominated for the Golden Bear at the Berlin Film Festival.

She played a student in the Czech drama Vyšší princip / Higher Principle (Jirí Krejcík, 1960) based on a short story from the book 'Silent Barricade' by Jan Drda. The story, taking place during the Nazi occupation, is about the relationship between students and their elderly teacher of Latin (František Smolík), nicknamed 'Higher Principle' for his frequent quotation of Seneca's moral precepts.

After three of their classmates are killed by Nazis during the murderous hysteria following the assassination of General Heydrich (just because they made fun of Heydrich), the teacher risks his own life but gains the respect of all students, declaring that from the standpoint of higher principles, the killing of a tyrant is not a crime! The film was temporarily banned in West Germany as being an ‘anti-German film’. Also interesting was Jirí Krejcík’s earlier film Morálka paní Dulské / The Morals of Mrs. Dulski (1958).

Jana Brejchová
East German postcard by VEB Progress Film-Vertrieb, no. 1409, 1961. Photo: Kurt Wunsch.

Jana Brejchová in Der Traum des Hauptmann Loy (1961)
East German postcard by VEB Progress Film-Vertrieb, no. 1573/1961. Photo: DEFA / Pathenheimer. Publicity still for Der Traum des Hauptmann Loy / The Dream of Captain Loy (Kurt Maetzig, 1961).

Jana Brejchová
East German postcard by VEB Progress Film-Vertrieb, Berlin, no. 1740, 1962. Photo: Kurt Wunsch.

Jana Brejchová (1940-2026)
East German postcard by VEB Progress Film-Vertrieb, Berlin, no. 1741, 1962. Photo: Kurt Wunsch.

An atomic bomb blast that causes women to grow beards


Jana Brejchová played Princess Bianca in the Czechoslovak romantic adventure film Baron Prášil / The Fabulous Baron Munchausen (Karel Zeman, 1961), based on the tales about the outrageous Baron Munchausen (Miloš Kopecký). The film combines live-action with various forms of animation and is highly stylised, often evoking the engravings of Gustave Doré.

In East Germany, she played in the thriller Der Traum des Hauptmann Loy / The Dream of Captain Loy (Kurt Maetzig, 1961) with Horst Drinda and Ulrich Thein. The latter would become her second husband.

In West Germany, she starred in the romantic comedy Schloß Gripsholm / The Gripsholm Castle (Kurt Hoffmann, 1963) with Walter Giller, and also appeared in Hoffmann’s drama Das Haus in der Karpfengasse / The House in Karp Lane (Kurt Hoffmann, 1965), which was filmed in Prague. The following year, she played again opposite Walter Giller in Dýmky / The Pipes (Vojtěch Jasný, 1966). The film, also starring Gitte Haenning, was entered into the 1966 Cannes Film Festival.

Jana Brejchová starred in Noc nevesty / The Nun's Night (Karel Kachyna, 1967) as a former nun who starts to run her father’s farm. Then followed the comedy Farářův konec / End of a Priest (Evald Schorm, 1969) with her then-husband, Vlastimil Brodský. With Brodsky, she also co-starred in the Czechoslovak musical Noc na Karlštejně / A Night at Karlstein (Zdeněk Podskalský, 1974), based on an 1884 play by Jaroslav Vrchlický.

Oldrich Lipsky directed her in the Science-Fiction comedy Zabil jsem Einsteina, panove / I Killed Einstein, Gentlemen (1970) about an atomic bomb blast that causes women to grow beards and lose the ability to have children. The decision is made to travel back in time and to murder Albert Einstein so that the atomic bomb never gets invented.

Jana Brejchová (1940-2026)
Big Czechoslovakian postcard by Nakladatelstvi Orbis, Praha (Prague), no. F 14-10134. Photo: M. Pešan.

Jana Brejchová
East German postcard by VEB Progress Film-Vertrieb, no. 2294, 1965. Photo: DEFA / Pathenheimer.

Jana Brejchova in Kdyby tisic klarinetu (1965)
Czech postcard by Pressfoto, Praha (Prague). Photo: publicity still for Kdyby tisic klarinetu / If a Thousand Clarinets (Ján Rohác, Vladimír Svitácek, 1965). Collection: Carla Bosch. Carla: Kdyby tisic klarinetu / If a Thousand Clarinets (Ján Rohác, Vladimír Svitácek, 1965) is a fantasy musical film about a mysterious statue of the composer Johann Sebastian Bach that changes guns into musical instruments. The news spreads and a television station decides to make a documentary film about the subject.

Karel Gott, Hana Hegerova, Pavel Sedláček, Jana Brejchova and Waldemar Matuska in Kdyby tisic klarinetu (1965)
Czech postcard by Pressfoto, Praha (Prague), no. A09*51007. Photo: M. Mirvald. Karel Gott, Hana Hegerova, Pavel Sedláček, Jana Brejchova and Waldemar Matuska in Kdyby tisic klarinetu / If a Thousand Clarinets (Ján Rohác, Vladimír Svitácek, 1965). Collection: Carla Bosch.

The Czech Oscar


Since the 1970s, Jana Brejchová also worked as a theatre actress.

Her later films include the Gothic fairytale Panna a netvor / Beauty and the Beast (Juraj Herz, 1978), Mladý muž a bílá velryba / The Young Man and Moby Dick (Jaromil Jireš, 1979), Zánik samoty Berhof / End of the Lonely Farm Berghof (Jiří Svoboda, 1984), the drama Skalpel, prosím / Scalpel, Please (Jiří Svoboda, 1985), and the drama Početí mého mladšího bratra / The Conception of My Younger Brother (Vladimír Drha, 2000) with Dana Vávrová.

Later, she played a supporting part in the tragicomedy Kráska v nesnázích / Beauty in Trouble (Jan Hřebejk, 2006). For her part in this film, she won the Czech Oscar, the Český lev (the Czech Lion).

In 2009, she won another Český lev for her ‘longstanding artistic contribution to Czech film’.

Jana Brejchová was married four times. Her husbands were director Milos Forman (1958-1962), East German actor Ulrich Thein (1964-1965), actor Vlastimil Brodský (1966-1983), and actor Jirí Zahajský (1997-2007 – his death). With Vlastimil Brodsky, she had a daughter, Tereza Brodska, who also became a successful actress. Jana Brejchová died of natural causes in Prague in 2026 at the age of 86.

Jana Brejchová
East German postcard by VEB Progress Film-Vertrieb, no. 1.962, 1964. Photo: Ceskolovensky Filmexport, Praha.

Jana Brejchová (1940-2026)
Russian postcard, no. M-59698, 1967.

Jana Brejchová in Luk královny Dorotky (1971)
East German postcard by VEB Progress Film-Vertrieb, no. 57/71. Photo: publicity still for Luk královny Dorotky / Queen Dorothy's Bow (Jan Schmidt, 1971).

Jana Brejchová (1940-2026)
East German Starfoto postcard by Progress Film-Verleih, Berlin, no. 45/76, 1976. Photo: Linke.

Sources: Wikipedia (Czech and English), and IMDb.

07 February 2026

Dolores del Río

Mexican and American actress Dolores del Río (1905–1983) was a Hollywood star in the 1920s and 1930s, and one of the most important female actresses of the Golden Age of Mexican cinema in the 1940s and 1950s. Del Río was the first major Latin crossover star in Hollywood, and was considered one of the most beautiful faces that have emerged in Hollywood cinema. She also appeared in several European films.

Dolores del Rio in The Red Dance (1928)
German postcard by Ross Verlag, no. 3905/2, 1928-1929. Photo: Fox. Publicity still for The Red Dance (Raoul Walsh, 1928). Del Rio is wearing a kokoshnik (Russian: коко́шник), a traditional Russian head-dress worn by women and girls.

Dolores Del Rio in The Red Dance (1928)
German postcard by Ross Verlag, no. 3905/3, 1928-1929. Photo: Fox. Publicity still for The Red Dance (Raoul Walsh, 1928).

Dolores Del Rio
German postcard by Ross Verlag, no. 4267/1, 1929-1930. Photo: Metro-Goldwyn-Mayer.

Dolores Del Rio
German postcard by Ross Verlag, no. 4993/1, 1929-1930. Photo: Fox.

Dolores Del Rio
German postcard by Ross Verlag, no. 5005/1, 1930-1931. Photo: Fox. Publicity still for The Trail of '98 (Clarence Brown, 1928).

Dolores Del Rio in The Trail of '98 (1928)
German postcard by Ross Verlag, no. 5005/2, 1930-1931. Photo: Fox. Publicity still for The Trail of '98 (Clarence Brown, 1928).

Dolores Del Rio
British postcard by De Reszke, no. 5 (of 24). Photo: Radio. Caption: Dolores del Rio. Dolores del Rio, the star of Flying Down to Rio (Radio), against the will of her family, decided to try her luck in pictures and made a sensational debut in What Price Glory?. She added to this reputation, but at the height of her career was called upon to fight a long and trying illness. She has made a brilliant comeback in talking pictures. Is playing the title role in Madame Dubarry.

The female Valentino


Dolores del Río was born Maria de los Dolores Asunsolo Lopez-Negrete in 1905 in Durango, Mexico. She was the daughter of Jesus Leonardo Asunsolo Jacques, who worked as a bank director, and Antonia Lopez-Negrete. They were members of the high class until the Mexican Revolution, when they lost all their assets. It was around this time that Dolores began dreaming of becoming an actress. On her mother's side, Dolores was a cousin of the Mexican filmmaker Julio Bracho and the Mexican actors Ramón Novarro and Andrea Palma. Besides acting, she also enjoyed dancing, especially ballet. While studying dancing, she would earn money by dancing for the rich families of the Mexican aristocracy.

A few years later, Dolores moved to Mexico City, where she was discovered by director Edwin Carewe. He was so entranced by her that he became her agent, manager, producer and director. In 1925, she made her debut in the film Joanna (Edwin Carewe, 1925), starring Dorothy Mackaill. Because of her exotic looks, she was cast in a vamp role. Unfortunately, her part in the film was only about 5 minutes long, and she was billed as Dorothy Del Rio in the credits. Carewe reassured her that the little that she appeared in the film looked extremely good, and the public became interested in her.

Her second film was High Steppers (Edwin Carewe, 1926), starring Mary Astor and Del Río, taking the second female credit. Carewe began promoting her as 'the female Valentino'. In the comedy Pals First (Edwin Carewe, 1926), he gave Del Río her first starring role. The films were not blockbusters, but helped to increase Del Río's popularity. Then, she was named a WAMPAS Baby Star along with Joan Crawford, Mary Astor, Fay Wray and Janet Gaynor, and Del Rio appeared in the hit film What Price Glory? (Raoul Walsh, 1926).

In 1927, Dolores was cast in the film The Loves of Carmen (Raoul Walsh, 1927). The first version, made 10 years earlier, had starred Theda Bara in the title role, but director Raoul Walsh decided to try it with a leading lady who was actually of Latin descent. Her background in dance certainly added to her convincing portrayal. Another box office hit was Resurrection (Edwin Carewe, 1927). The following year, she had another career boost. United Artists signed Dolores up for the film Ramona (Edwin Carewe, 1928), and she also recorded the theme song. The film did have a synchronised score, but it was not considered a talkie. The theme song was heard on the radio with great strength both in the United States and Europe, and helped to increase the enormous success of the film. Del Rio made an extensive promotional tour in Europe.

In March of 1928, the studio asked her over to Mary Pickford's home along with other big names so that they could speak on a radio show and give the audience a taste of what they sounded like. Dolores ended up singing, which was a great treat for everyone. United Artists was getting a little fed up with the partnership between Dolores and Edwin Carewe. They felt that he used her as a stepping stone, and they wanted to be in charge of her career. UA finally convinced Dolores to cut ties with the famous director, which took a great weight off her shoulders. Carewe demanded that she pay him a huge amount of money to compensate for his losses, and he cast one of Dolores's main rivals, Lupe Velez, in his newest picture.

Dolores Del Rio and Victor McLaglen in The Loves of Carmen (1927)
Italian postcard by Casa Editrice Ballerini & Fratini, Firenze (B.F.F.), no. 2507. Photo: Max Munn Autrey / Fox Film Corp. Dolores Del Rio and Victor McLaglen in The Loves of Carmen (Raoul Walsh, 1927).

Dolores Del Rio and Edmund Lowe in What Price Glory? (1926)
French postcard by A.N., Paris, no. 331. Photo: Max Munn Autrey / Fox Film. Dolores Del Rio and Edmund Lowe in What Price Glory? (Raoul Walsh, 1926).

Dolores del Rio
Austrian postcard by Iris Verlag, no. 5148. Fox-Film. Dolores del Rio wears her outfit in The Trail of '98 (Clarence Brown, 1928).

Dolores Del Rio in The Red Dance (1928)
Austrian postcard by Iris Verlag, no. 5367. Photo: Fox-Film. Dolores Del Rio in The Red Dance (Raoul Walsh, 1928).

Dolores Del Rio and Rod La Rocque in Resurrection (1927)
German postcard by Ross Verlag, no. 1917/3, 1927-1928. Photo: United Artists. Publicity still for Resurrection (Edwin Carewe, 1927) with Rod La Rocque.

Dolores Del Rio in Evangeline (1929)
German postcard by Ross Verlag, no. 3238/2, 1928-1929. Photo: United Artists. Dolores Del Rio in Evangeline (Edwin Carewe, 1929).

Dolores Del Rio in Ramona (1928)
German postcard by Ross Verlag, no. 3378/2, 1928-1929. Photo: United Artists. Publicity still for Ramona (Edwin Carewe, 1928).

Ralph Forbes and Dolores Del Rio in The Trail of '98 (1928)
German postcard by Ross Verlag, no. 4266/1, 1929-1930. Photo: Metro-Goldwyn-Mayer. Publicity still for The Trail of '98 (Clarence Brown, 1928) with Ralph Forbes.

Dolores del Rio in The Loves of Carmen (1927)
German postcard by Ross Verlag, no. 4490/2, 1929-1930. Photo: Fox. Publicity still for The Loves of Carmen (Raoul Walsh, 1927).

Dolores Del Rio and Roland Drew in Evangeline (1929)
German postcard by Ross Verlag, no. 4787/1, 1929-1930. Photo: United Artists. Dolores Del Rio and Roland Drew in Evangeline (Edwin Carewe, 1929).

Dolores del Rio
German postcard by Ross Verlag, no. 4786/2, 1929-1930. Photo: United Artists.

Great Hollywood princess


Dolores del Río continued focusing on her own career. In 1930, she appeared in the film The Bad One, with Edmund Lowe and Boris Karloff. Another successful film was Bird of Paradise (King Vidor, 1932). She made the transition from 'an exotic star across the border' to one of the great Hollywood princesses. She appeared in Flying Down to Rio (Thornton Freeland, 1933) alongside Fred Astaire and Ginger Rogers in their first pairing.

Then she starred in Madame DuBarry (William Dieterle, 1934), but the film had the misfortune of being torn apart by the Hays Office. It was edited so much that it came out almost nothing like the original story. The audiences didn't like it, and neither did the people involved in the making of the film. As the 1930s progressed, her box office appeal began to wane. The heads of the studios preferred leading ladies like Joan Crawford and Norma Shearer, not Latina actresses. After making Journey into Fear (Norman Foster, 1942) with Orson Welles as producer, she moved back to Mexico

In Mexico, the film industry was at its peak at that time. There she received another career boost and made some of her most important films. These films like Flor silvestre / Wild Flower (Emilio 'El Indio' Fernández, 1943), María Candelaria (Emilio Fernández, 1943) with Pedro Armendariz, Las Abandonadas / The Abandoned (Emilio Fernández, 1944), Bugambilia / Secret Love (Emilio Fernández, 1944), La Otra / The Other One (Roberto Gavaldón, 1946) and La Malquerida / The Unloved (Emilio Fernández, 1949), are now considered classic masterpieces and they helped to boost Mexican cinema worldwide. María Candelaria (Emilio Fernández, 1943) was the first Mexican film to be screened at the Cannes International Film Festival, where it won the Grand Prix, becoming the first Latin American film to do so. The film was a great success in Europe and allowed Del Río to keep her international prestige.

In 1934, Del Río, along with other Mexican film stars of Hollywood like Ramón Novarro and Lupe Vélez, was accused of promoting Communism in California. This happened after the stars attended a special screening of Sergei Eisenstein's film ¡Que viva México! (Grigori Aleksandrov, Sergei M. Eisenstein, 1932). Twenty years later, this would have consequences for her career. In 1954, Del Río was slated to appear in the 20th Century Fox film Broken Lance (Edward Dmytryk, 1954). The US government denied her permission to work in the United States, accusing her of being sympathetic to international communism. So she stayed in Mexico making films, and with the decline of the Mexican cinema, she opted for work in theatre.

In 1960, she returned to Hollywood and played opposite Elvis Presley in Flaming Star (Don Siegel, 1960). Elvis greeted her with flowers and said he knew exactly who she was, and said it was an honour to work with her. Dolores soon began to look at him as a son and was very affectionate with him. She also appeared in Cheyenne Autumn (John Ford, 1964) and in European films like La dama del alba / The Lady of the Dawn (Francisco Rovira Beleta, 1966) and C'era una volta / Cinderella: Italian Style (Francesco Rosi, 1967) with Sophia Loren. Her final film role was as a grandmother opposite Anthony Quinn in The Children of Sanchez (Hal Bartlett, 1978).

Dolores del Río passed away in 1973 from liver disease in Newport Beach, California. Dolores Del Rio was married three times. Her first husband was Jaime Martinez del Río, the son of a wealthy Mexican family. She was only 16 years old when they met and was 18 years younger than him. Her second marriage was to MGM art director and production designer Cedric Gibbons from 1930 until 1940. Their divorce was caused by her affair with Orson Welles. The affair with Welles lasted two years and was very intense. He later called her the great love of his life. Her third and final marriage was to Lewis Riley, an American businessman. They married in 1959 and remained married until she died in 1983.

Dolores Del Rio
Italian postcard by TET (Tip. Ed. Taurinia, Torino). Photo: United Artists.

Dolores del Rio
German postcard by Ross Verlag, no. 3660/3, 1928-1929 Photo: United Artists.

Dolores Del Rio
Austrian postcard by Iris Verlag, no. 5148. Photo: Fox Film. Publicity still for The Trail of '98 (Clarence Brown, 1928).

Dolores Del Rio
Austrian postcard by Iris Verlag, no. 5185.

Dolores Del Rio and James Marcus in Revenge (1928)
Austrian postcard by Iris-Verlag, no. 5953. Photo: United Artists / Dr. Hauser u. Co. Publicity still for Revenge (Edwin Carewe, 1928) with James Marcus.

Dolores del Rio
German postcard by Ross Verlag, no. 4786/2, 1929-1930. Photo: United Artists.

Dolores Del Rio
German postcard by Ross Verlag, no. 6495/3, 1931-1932. Photo: Radio Pictures.

Dolores Del Rio
German postcard by Ross Verlag, no. 6613/1, 1931-1932. Photo: RKO.

Dolores Del Rio and Joel McCrea in Bird of Paradise (1932)
Dutch postcard by M. Bonnist & Zonen, Amsterdam, no. B 200. Photo: Loet C. Barnstijn. Dolores Del Rio and Joel McCrea in Bird of Paradise (King Vidor, 1932).

Dolores Del Rio
British Real Photograph postcard, no. 138. Photo: First National Pictures.

Dolores Del Rio
German cigarette card in the series Unsere Bunten Filmbilder by Ross Verlag for Cigarettenfabrik Josetti, Berlin, no. 232. Photo: Radio Pict. Corp.

Gene Raymond, Dolores Del Rio and Raul Roulien in Flying Down to Rio (1933)
British postcard in the Film Shots series by Film Weekly. Photo: RKO Radio. Gene Raymond, Raoul Roulien and Dolores Del Rio in Flying Down to Rio (Thornton Freeland, 1933).

Dolores del Rio in Madame Du Barry (1934)
Spanish leaflet by Films Selectos, no. 193, 23 January 1934. Photo: Warner Bros. Dolores del Rio in Madame Du Barry (William Dieterle, 1934).

Dolores del Rio in The Devil's Playground (1937)
Italian postcard by Vecchioni. Photo: Columbia Pictures. Dolores del Rio as Carmen in Woman of the Sea / The Devil's Playground (Erle C. Kenton, 1937). The Italian title is Femmina del mare.

Dolores Del Rio
French postcard by Collection Chantal, no. 91. Photo: Warner Bros.

Dolores Del Rio at Home
American postcard by Western Publishing & Novelty Co., Los Angeles, Calif., no. 878. Caption: Dolores Del Rio at her beautiful home in Hollywood.

Dolores Del Rio and Elvis Presley in Flaming Star (1960)
Dutch postcard by AE, Enschede / De Nederlandse Elvis Presley Fanclub, Elbergen. Dolores Del Rio and Elvis Presley in Flaming Star (Don Siegel, 1960).

Source: Jessica Keaton (Silence is Platinum), Wikipedia and IMDb.