Mapy cortes biography samples
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Catalina Rodríguez de Mendoza
1949
Lucero Reyes / Rosario Aldama
1948
María Luz
1948
Dos mujeres en la niebla
1947
No te cases con mi mujer
1946
Los maridos engañan de 7 a 9
1946
Reina Eva XLV
1946
Luisa González
1946
Carmen
1945
Susana Martínez
1945
Irene
1944
Rosaura
1944
Lota
1944
Suzette Remontel
1943
Luisa Valdés
1943
Girls Boarding School
1942
Mapy (as Mapy Cortes)
1942
Rosa / Violeta
1942
Haydée
1942
Lola
1941
Lulú
1941
La Criollita
1941
Mapy and her husband Fernando returned to the island and presented an idea for a comedy show to Ángel Ramos, owner of El Mundo Enterprises. Remezcla. After an eight-year absence from films, Mapy Cortés co-starred in the comedy Dormitorio para señoritas / Girls' Dormitory (1959), a loose remake of her 1943 hit Internado para señoritas / Girls' Dormitory (1943), starring Mapita and directed by Fernando.
However, Mapita quickly retired from showbiz after marrying the popular Chilean crooner Lucho Gatica and only briefly returned many years later, as part of the Mexican telenovela industry.
By the 1960s, Mapy Cortés was working mostly on the Mexico City stage, often starring in comedies by Spanish author Alfonso Paso. Cortes, who was also a comedian and a musicals actress, parlayed her acting career into a singing one, recording various albums while still active as an actress.
/ Oh, What Times, Don Simon! (Julio Bracho, 1941) and the Cantinflas comedy El gendarme desconocido / The Unknown Policeman (Miguel M. Delgado, 1941) - quickly turned Mapy Cortés into one of the most bankable leading ladies in Mexican cinema. In the 1940s, the US State Dept Made a Pro-Mexico Propaganda Film Starring Cantinflas.
After the company disbanded, the couple began performing in different teatro de revista companies, primarily in Barcelona. After the show came off the air in Puerto Rico, the couple returned to Mexico City, where they starred in a Mexican version of Mapy y Papi.
Her niece Mapita Cortés, Miss Puerto Rico 1957, lived with them in Mexico City and briefly joined the Mexican film industry in the late 1950s.
She was buried at the Puerto Rico Memorial Cemetery in Carolina, Puerto Rico.[5]
Filmography
- Dos mujeres y un don Juan / Two Women and a don Juan (1933, Spain)
- El paraíso recobrado / The Recovered Paradise (1935, Spain)
- No me mates / Don't Kill Me (1935, Spain)
- El gato montés / The Wildcat (1936, Spain)
- ¡Centinela, alerta!
prpop.org. By that time Cortés had a nephew, Paquito Cordero, who would become a famed actor and producer in Puerto Rico.
After the start of the Spanish Civil War, Mapy and Fernando Cortés went to Marseilles before making their way down to Argentina. They made their stage debut as part of the Cantinflas revue and soon joined the growing Mexican film industry, which lacked established female stars.
In 1932 Mapy traveled to New York City and married childhood friend Fernando "Papi" Cortés. Mapy Cortés made her film debut as one of the two female leads in the comedy Dos Mujeres y un Don Juan (Two Women and a Don Juan, 1933). Her film debut was in a movie named Dos Mujeres y un Don Juan (Two Women and a Womanizer).
en-US.
- Web site: 20Minutos. www.milenio.com.
External links
Mapy Cortés
Mapy Cortés (March 1, 1910 – August 2, 1998), born Maria del Pilar Cordero in Santurce, Puerto Rico, was a famous actress that participated in many films during the Mexican film industry's golden era.
Under contract to a theatrical troupe headlined by Dominican baritone Eduardo Brito, the couple traveled to Spain. Contrary to popular belief, Cortes was not Mexican; she was Puerto Rican, but she adopted Mexico as her residential country from her youth and almost until she died.
Biography
Mapy Cortés began experimenting as an actress since an early age, working in various Puerto Rican radio shows, with lukewarm success.
In 1945, the Mapy Cortés vehicle La pícara Susana / Mischievous Susana (1945) marked the directorial debut of her husband Fernando, who remained very active as a comedy director in Mexican film and TV, directing vehicles for popular Mexican comedians like Tin-Tan, Resortes, and la India Maria.
While Fernando remained in demand as director until his death, Mapy's film career waned in the 1950s.