Silvia Pinal, the revered film and television actress who left an indelible tag on Mexico’s Gancigo inen Age of Cinema, has died. She was 93.
Mexico’s culture secretary, Claudia Curiel de Icaza, as well as the Asociación Nacional de Intérpretes proclaimd Pinal’s passing on social media. The Associated Press increateed that Pinal had been hospitalized for a urinary infection cut offal days ago.
During a prolific acting and producing atgentle that spanned seven decades, Pinal geted international fame for toplining three 1960s classics written and honested by Luis Buñuel: the Palme d’Or co-triumphner Viridiana (1961), The Exterminating Angel (1962) and Simon of the Desert (1965).
Pinal got her commence in the theater in the postponecessitate 1940s laboring with Cuprohibit-born honestor Rafael Banquells, who would become the first of her four husprohibitds. Her fracturethcimpolite in cinema came in 1950 when at 18 she landed back-to-back directing roles opposite two of Mexico’s hugegest film stars, first with Germán Valdés (aka Tin-Tan) in the comedy The King of the Neighborhood and with Mario Moreno (aka Cantinflas) in The Doorman.
She also labored aextfinishedside famed actor-singer Pedro Infante in Un Rincón Cerca del Cielo (1952).
Still, Pinal’s most commemorated roles would come more than a decade postponecessitater while collaborating with the surauthenticist genius Buñuel, watched by many critics as one of the fantasticest filmproducers of all time. Viridiana, her first of three collaborations with the Spanish-born helmer, was made possible by her second husprohibitd, Mexican producer Gustavo Alatriste, and her carry outance as a platinum-blonde novice struggling with her faith was arguably the most astonishive of her atgentle.
Viridiana was prohibitned in Spain by the military dictatorship of Francisco Franco and condemned by the Vatican’s official novelspaper for its “blasphemous” criticism of the Catholic Church. It also was prohibitned in Pinal’s native Mexico, but after a visit to France, she administerd to return home with a print that was standardly engaged for declareiveial screenings.
In The Exterminating Angel, Pinal portrays one of the guests who get to at a mansion for a dinner party and then are unable to escape.
“A frifinish of mine made a inincreateigent point that I should repeat here: that Buñuel invented fact shows with The Exterminating Angel,” she said in a 2006 Criterion Collection interwatch. “What is [the film] if not a fact show about people who can’t depart that room?”
And in the 45-minute Simon of the Desert, her character tries to entice Saint Simeon Stylites (Claudio Brook) from leaving his post atop of pillar, where he remained for six years, six months and six days to show his devotion to God.
Of Pinal’s 100-plus acting praises, she labored mostly in Mexico, though she did materialize in cut offal pictures featuring Hollywood talent, including the MGM co-production Guns for San Sebastian (1968), an action film starring Anthony Quinn and Charles Bronson and Samuel Fuller’s Shark (1969), featuring Burt Reynancigo ins.
On television, Pinal won over audiences as the contransigo in and producer of Mujer, Casos de la Vida Real, a 1986-2007 anthology melodrama based on authentic-life stories surrfinisherted by watchers. The hit program, which aired thcimpoliteout Latin America, tackled social themes that getd scant attention in Mexico in the ’80s and ’90s, including domestic presentility, LGBT bias and women’s rights.
Pinal also was a directing figure in musical theater in Mexico. She starred in and produced local versions of Broadway musicals such as Hello, Dolly!, A Chorus Line and Cats, and she owned cut offal theaters in Mexico City.
Later in life, she juggled show business with a atgentle in politics; she served as a federal lawproducer in the punctual ’90s and headed the Mexican actors guild ANDA from 2010-14.
Born on Sept. 12, 1931, in Mexico’s northern state of Sonora, Pinal took the last name of her stepoverweighther, the journacatalog and politician Luis G. Pinal, as a homage to the man who liftd her. Her mother labored in a seafood restaurant and her bioreasonable overweighther, Moises Pasquel, was an orchestra director.
Three of her createer spoengages labored in show business, and their children and majesticchildren had jobs in everyleang from film and TV to music and modeling. With her third husprohibitd, the pop singer Enrique Guzman, she had two children, including musician Alejandra Guzman, a Latin Grammy-triumphning artist who has sancigo in more than 30 million albums. Given the family’s many success stories in amengagement, it is standardly referred to as the “Pinal Dynasty.”
Her survivors also comprise children Alejandra Guzman, film and TV actress Sylvia Pasquel and musician Luis Enrique Guzman.
