Cantinflas

Cantinflas
Born	Mario Alfonso Fortino Moreno Reyes August 12, 1911(1911-08-12) Mexico City, Mexico
Died	April 20, 1993(1993-04-20) (aged 81) Mexico City, Mexico
Years active	1937–82
Spouse	Valentina Ivanova (1936–66)

Fortino Mario Alfonso Moreno Reyes (August 12, 1911 – April 20, 1993), was a Mexican comedian and stage and film actor known professionally as Cantinflas, often portrayed impoverished campesinos or a peasant of pelado origin.^{[citation needed]} The character came to be associated with the national identity of Mexico, and allowed Cantinflas to establish a long, successful film career that included a foray into Hollywood. Charlie Chaplin once commented that he was the best comedian alive.^{[1] [2]} and Moreno has been referred to as the "Charlie Chaplin of Mexico".^[3] To audiences in the United States, he is best remembered as costarring with David Niven in Around the World in 80 Days (1956).

As a pioneer of the cinema of Mexico, Moreno helped usher in its golden era. In addition to being a business leader, he also became involved in Mexico's tangled and often dangerous labor politics. Although he was a political conservative, his reputation as a spokesperson for the downtrodden gave his actions authenticity and became important in the early struggle against charrismo, the one-party government's practice of co-opting and controlling unions.^{[citation needed]}

Moreover, his character Cantinflas, whose identity became enmeshed with his own, was examined by media critics, philosophers, and linguists, who saw him variably as a danger to Mexican society, a bourgeois puppet, a kind philanthropist, a transgressor of gender roles, a pious Catholic, a verbal innovator, and a picaresque underdog.^{[citation needed]}

Personal life

He was the eldest child born to Pedro Moreno Esquivel, an impoverished mail carrier, and María de la Soledad Reyes Guizar (from Cotija, Michoacan). They had eight children: Pedro, Jose ("Pepe"), Eduardo, Fortino, Esperanza, Catalina, Enrique and Roberto.

Fortino Mario Alfonso Moreno Reyes was born in the Santa María la Redonda neighbourhood of Mexico City, and grew up in the tough neighborhood of Tepito. ^[4] He made it through difficult situations with the quick wit and street smarts that he would later apply in his films. After an unsuccessful attempt to enter the United States through California, he became a prizefighter in his teens as a source of income.^[5] His comic personality led him to a circus tent show, and from there to legitimate theatre and film.

He married Valentina Ivanova Zubareff, of Russian ethnicity, on October 27, 1936, and remained with her until her death in January 1966. A son was born to Moreno in 1961 by another woman;^[6] the child was adopted by Valentina Ivanova and was named Mario Arturo Moreno Ivanova, causing some references to erroneously refer to him as "Cantinflas' adopted son".^[7]

He served as president of the Mexican actor's guild known as Asociación Nacional de Actores (ANDA, "National Association of Actors") and as first secretary general of the independent filmworkers' union Sindicato de Trabajadores de la Producción Cinematográfica (STPC).^{[citation needed]} Following his retirement, Moreno devoted his life to helping others through charity and humanitarian organizations, especially those dedicated to helping children. His contributions to the Roman Catholic Church and orphanages made him a folk hero in Mexico.^{[citation needed]}

In 1993, after his death in Mexico City of lung cancer, thousands appeared on the rainy day for his funeral. The ceremony was a national event, lasting three days. His body lay in state in the Rotonda de los Hombres Ilustres (Rotunda of Distinguished Men) and he was honored by many heads of state and the United States Senate, which held a moment of silence for him.

After his death, a 12-year legal battle ensued between Mario Moreno Ivanova, Cantinflas' son and heir to his estate, and the actor's blood nephew, Eduardo Moreno Laparade over the control of 34 films made by Cantinflas. The nephew claimed his uncle gave him a written notice to the rights for movies on his deathbed. Moreno Ivanova argued he is the direct heir of Cantinflas and the rights belong to him. Moreno Laparade won the lawsuit twice,^[8] but Moreno Ivanova eventually triumphed after two appeals.^[9] In 2005, Mario Moreno Ivanova, Jr. won rights to 39 films and name.

At the same time, another legal battle ensued between Columbia Pictures and Moreno Ivanova over control of these films. Columbia claims that it bought the rights to the 34 films four decades ago with the court noting several discrepancies in the papers. Moreno Ivanova wanted the rights to the films to remain his and more generally, Mexico's, as a national treasure. On June 2, 2001 the eight year battle was resolved with Columbia retaining ownership over the 34 disputed films.^[10]

Origin of name

As a young man, Cantinflas performed a variety of acts in travelling tents, and it was here that he earned the nickname "Cantinflas", although the origin of the name is obscured by legend. According to one obituary, "Cantinflas" is a meaningless name invented to prevent his parents from knowing he was in the entertainment business, which they considered a shameful occupation. In another version, the Mexican media critic and theorist Carlos Monsiváis cites a legendary account of the origin of Cantinflas's characteristic speech:

“

According to a legend that he agrees with, a young Mario Moreno, overwhelmed by stage fright, once, in the Ofelia carpa, forgets his original monologue. He begins to say what comes to mind in a complete emancipation of phrases and words, and what comes to mind is an incoherent brilliance. His assistants recite his attack on syntax, and Mario becomes aware of it: destiny has placed in his hands the distinctive characteristic, the style that is manipulation of chaos. Weeks later, the name that will mark the invention is invented. Someone, taken in by the nonsense, screams: "Cuanto inflas!" [C' ntinflas] (You're annoying!) or "En la cantina inflas!" [You like to drink a lot at the cantina (inflar means to swell)]. The contraction catches on and becomes proof of the baptism that the character needs.[11]

”

Entertainment career

Cantinflas with Bing Crosby in Pepe (1960), his second American film

Before starting his professional life in entertainment, he explored a number of possible careers, such as medicine and professional boxing, before joining the entertainment world as a dancer. By 1930 he was involved in Mexico City's carpa (travelling tent) circuit, performing in succession with the Ofelia, Sotelo of Azcapotzalco, and finally the Valentina carpa, where he met his future wife. At first he tried to imitate Al Jolson by smearing his face with black paint, but later separated himself to form his own identity as an impoverished slum dweller with baggy pants, a rope for a belt, and a distinctive mustache.^[5] In the tents, he danced, performed acrobatics, and performed roles related to several different professions.

Film career

Caricature on poster for Águila o sol ("Heads or Tails," 1937)

In the mid-1930s, Cantinflas met Russian producer Jacques Gelman and subsequently partnered with him to form their own film production venture. Gelman produced, directed, and distributed, while Cantinflas acted. Cantinflas made his film debut in 1936 with No te engañes corazón but the film received little attention. He established Posa Films in 1939, producing short films that allowed him to develop the Cantinflas character, but it was in 1940 that he finally became a movie star, after shooting Ahí está el detalle ("There's the rub", literally "There lies the detail"), with Sofía Álvarez, Joaquín Pardavé, Sara García, and Dolores Camarillo. The phrase that gave that movie its name became a "Cantinflas" (or catchphrase) for the remainder of his career. The film was a breakthrough in Latin America and was later recognized by Somos magazine as the 10th greatest film produced largely in Mexico.^[12]

Cantinflas in "Ahí está el detalle"

In 1941, Moreno first played the role of a police officer on film in El gendarme desconocido ("The unknown police officer" a play on words on "The Unknown Soldier). By this time he had sufficiently distinguished the peladito character from the 1920s-era pelado, and his character flowed comfortably from the disenfranchised, marginalized, underclassman to the empowered public servant. The rhetoric of cantinflismo facilitated this fluidity.^{[citation needed]} He would reprise the role of Agent 777 and be honored by police forces throughout Latin America for his positive portrayal of law enforcement.

Ni sangre, ni arena ("Neither Blood, nor Sand" a play on words on the bullfighter/gladiator phrase Blood and Sand), the 1941 bullfighting film, broke box-office records for Mexican-made films throughout Spanish-speaking countries. In 1942, Moreno teamed up with Miguel M. Delgado and Jaime Salvador to produce a series of low-quality parodies, including an interpretation of Chaplin's The Circus.^{[citation needed]}

The 1940s and 1950s were Cantinflas's heyday. In 1946, he rejected Mexican film companies and instead signed with Columbia Pictures.^[5] By this time, his popularity was such that he was able to lend his prestige to the cause of Mexican labor, representing the National Association of Actors in talks with President Manuel Ávila Camacho. The talks did not go well, however, and, in the resulting scandal, Moreno took his act back to the theatre.^{[citation needed]}

On August 30, 1953, Cantinflas began performing his theatrical work Yo Colón ("I, Columbus") in the Teatro de los Insurgentes, the same theatre that had earlier been embroiled in a controversy over a Diego Rivera mural incorporating Cantinflas and the Virgin of Guadalupe. Critics, including the PAN and archbishop Luis María Martínez, called the mural blasphemous, and it was eventually painted without the image of the Virgin.

Yo Colón placed Cantinflas in the character of Christopher Columbus, who, while continually "discovering America", made comical historical and contemporary observations from fresh perspectives. The jokes changed nightly, and Moreno continued to employ his word games and double entendres to jab at politicians.

In 1956, Around the World in Eighty Days, Cantinflas's American debut earned him a Golden Globe for Best Actor in a musical or comedy.^[13] Variety magazine said in 1956 that his Chaplinesque quality made a big contribution to the success of the film.^[14] The film ultimately made an unadjusted $42 million at the box office.^[15] While David Niven was billed as the lead in English-speaking nations, Cantinflas was billed as the lead elsewhere. As a result of the film, Cantinflas became the world's best paid actor.^[16]

Moreno's second Hollywood feature, Pepe, attempted to replicate the success of his first. The film had cameo appearances by Frank Sinatra, Judy Garland and other stars. His humor, deeply rooted in the Spanish language, did not translate well for the American audience and the movie was a notorious box office disappointment. He still earned a Golden Globe nomination for his part. Later in a 1992 American interview, Moreno cited the language barrier as the biggest impediment to his making it big in the United States.^[17]

After returning to Mexico, Cantinflas starred in the comic drama El bolero de Raquel (1957), the first Cantinflas film to be distributed to the United States by Columbia Pictures. The film was followed by three more Cantinflas-Delgado-Columbia productions: El analfabeto (1961), El padrecito (1964), and Su excelencia (1967). After Su excelencia, Cantinflas began to appear in a series of low-budget comedies (also directed by Miguel M. Delgado), which were produced by his own company "Cantinflas Films". These films lasted until El Barrendero, in 1982.

Like Charlie Chaplin, Cantinflas was a social satirist. He played el pelado, an impoverished Everyman, with hopes to succeed. With mutual admiration, Cantinflas was influenced by Chaplin's earlier films and ideology. El Circo (the circus) was a "shadow" of Chaplin's silent film, The Circus and Si yo fuera diputado ("If I Were a Congressman") had many similarities with the 1940 film, The Great Dictator. Cantinflas's films, to this day, still generate revenue for Columbia Pictures. In 2000, Columbia reported in an estimated USD$4 million in foreign distribution from the films.^[5]

Cultural Impact

Cantinflas' star on the Hollywood Walk of Fame in Los Angeles.

Among the things that endeared him to his public was his comic use of language in his films; his characters (all of which were really variations of the main "Cantinflas" persona but cast in different social roles and circumstances) would strike up a normal conversation and then complicate it to the point where no one understood what they were talking about. The Cantinflas character was particularly adept at obfuscating the conversation when he owed somebody money, was courting an attractive young woman, or was trying to talk his way out of trouble with authorities, whom he managed to humiliate without their even being able to tell. This manner of talking became known as Cantinfleada, and it became common parlance for Spanish speakers to say "¡estás cantinfleando!" (loosely translated as you're pulling a "Cantinflas!" or you're "Cantinflassing!") whenever someone became hard to understand in conversation. The Real Academia Española officially included the verb, cantinflear, cantinflas and cantinflada^[18] in its dictionary in 1992.

In the visual arts, Mexican artists such as Rufino Tamayo and Diego Rivera painted Cantinflas as a symbol of the Mexican everyman. The American electronic dance music band Mindless Self Indulgence released a song about Cantinflas called "Whipstickagostop".

Cantinflas's style and the content of his films have led scholars to conclude that he influenced the many teatros that spread the message of the Chicano Movement during the 1960s-1970s in the United States, the most important of which was El Teatro Campesino. The teatro movement was an important part of the cultural renaissance that was the social counterpart of the political movement for the civil rights of Mexican Americans. Cantinflas' use of social themes and style is seen as a precursor to Chicano theater.^[19]

A cartoon series, the Cantinflas Show, was made in the 1970s starring an animated Cantinflas. The show was targeted for children and was intended to be educational.^[20] The animated character was known as "Little Amigo" and concentrated on a wide range of subjects intended to educate children, from the origin of soccer to the reasons behind the International Date Line. The animated series was a joint venture between Televisa and Hanna-Barbera

Although Cantinflas never achieved the same success in the United States as in Mexico, he was honored with a star in the Hollywood Walk of Fame. He earned two Golden Globe nominations (winning one) for best actor and the Mexican Academy of Film Lifetime Achievement Award.^[3][21] His handprints have been imbedded onto the Paseo de las Luminarias for his work in motion pictures.

The Mario Moreno "Cantinflas" Award is handed out annually for entertainers who "represent the Latino community with the same humor and distinction as the legendary Mario Moreno "Cantinflas" and who, like Cantinflas, utilizes his power to help those most in need".^[22] Cantinflas films are distributed in North America by Laguna Films.

References in Pop Culture

In the season 9 episode of the animated sitcom King of the Hill, "Death Buys a Timeshare," Hank's father Cotton is lured into buying a timeshare that includes access to an exclusive yacht whose private chef once worked for Cantinflas. In the episode, Cotton pronounces Cantinflas, /ˈkɛnːtɪnˌflæs/.

Critical response

Cantinflas

Cantinflas is sometimes seen as a Mexican Groucho Marx character, one who uses his skill with words to puncture the pretensions of the wealthy and powerful, the police and the government. Historian and author of Cantinflas and the Chaos of Mexican Modernity, writes, "Cantinflas symbolized the underdog who triumphed through trickery over more powerful opponents" and presents Cantinflas as a self image of a transitional Mexico. Gregorio Luke, executive director of the Museum of Latin American Art said, "To understand Cantinflas is to understand what happened in Mexico during the last century".^[5][23]

For his part, Monsiváis interprets the Moreno's portrayals in terms of the importance of the spoken word in the context of Mexico's "reigning illiteracy" (70% in 1930). Particularly in the film El analfabeto, (The Illiterate), "Cantinflas is the illiterate who takes control of the language by whatever means he can".^[24]

The journalist Salvador Novo interprets the role of Moreno's character entirely in terms of Cantinflismo: "En condensarlos: en entregar a la saludable carcajada del pueblo la esencia demagógica de su vacuo confusionismo, estriba el mérito y se asegura la gloria de este hijo cazurro de la ciudad ladina y burlona de México, que es 'Cantinflas'". ("In condensing them [the leaders of the world and of Mexico], in the giving back to the healthy laughter of the people the demagogic state of their empty confusion, merit is sustained and glory is ensured for the self-contained son of the Spanish-speaking mocker of Mexico, who is Cantinflas.")^[25]

In his biography of the comic, the scholar of Mexican culture Jeffrey M. Pilcher views Cantinflas as a metaphor for "the chaos of Mexican modernity", a modernity that was just out of reach for the majority of Mexicans: "His nonsense language eloquently expressed the contradictions of modernity as 'the palpitating moment of everything that wants to be that which it cannot be'."^[26] Likewise, "Social hierarchies, speech patterns, ethnic identities, and masculine forms of behavior all crumbled before his chaotic humor, to be reformulated in revolutionary new ways."^[27]

A cinematic biopic is being co-written and directed by Alejandro Gomez Monteverde.^[28]

Filmography

Cinema of the United States
Year	Director	Film	Role
1969	Norman Foster	The Great Sex War	General Marcos
1960	George Sidney	Pepe	Pepe
1956	Michael Anderson	Around the World in Eighty Days	Passepartout

Cinema of Mexico
Year	Director	Film	Role
1981	Miguel M. Delgado	El barrendero	Napoleón
1977	Miguel M. Delgado	El patrullero 777	Diógenes Bravo
1975	Miguel M. Delgado	El ministro y yo	Mateo Melgarejo
1973	Miguel M. Delgado	Conserje en condominio	Úrsulo
1972	Roberto Gavaldón	Don Quijote cabalga de nuevo	Sancho Panza
1970	Miguel M. Delgado	El profe	Sócrates García
1969	Miguel M. Delgado	Un Quijote sin mancha	Justo Leal, Aventado
1968	Miguel M. Delgado	Por mis pistolas	Fidencio Barrenillo
1966	Miguel M. Delgado	Su excelencia	Lopitos
1965	Miguel M. Delgado	El señor doctor	Salvador Medina
1964	Miguel M. Delgado	El padrecito	Sebastián
1963	Miguel M. Delgado	Entrega inmediata	Feliciano Calloso
1962	Miguel M. Delgado	El extra	Rogaciano
1960	Miguel M. Delgado	El analfabeto	Inocencio Prieto y Calvo
1958	Miguel M. Delgado	Sube y baja	Cantinflas
1958	Tulio Demicheli	Ama a tus prójimo	Cantinflas
1956	Miguel M. Delgado	El bolero de Raquel	Cantinflas
1954	Miguel M. Delgado	Abajo el telón	Cantinflas
1953	Miguel M. Delgado	Caballero a la medida	Cantinflas
1952	Miguel M. Delgado	El señor fotógrafo	Cantinflas
1951	Miguel M. Delgado	Lluvia de estrellas	Cantinflas
1951	Miguel M. Delgado	Si yo fuera diputado	Cantinflas
1950	Miguel M. Delgado	El bombero atómico	Cantinflas
1950	Miguel M. Delgado	El siete machos	Margarito
1949	Miguel M. Delgado	Puerta, joven (El Portero)	Cantinflas
1948	Miguel M. Delgado	El mago	Cantinflas
1948	Miguel M. Delgado	El supersabio	Cantinflas
1947	Miguel M. Delgado	¡A volar joven!	Cantinflas
1946	Miguel M. Delgado	Soy un prófugo	Cantinflas
1945	Miguel M. Delgado	Un día con el Diablo	Cantinflas
1944	Miguel M. Delgado	Gran Hotel	Cantinflas
1943	Miguel M. Delgado	Romeo y Julieta	Romeo de Montesco
1942	Miguel M. Delgado	El circo	Cantinflas
1942	Miguel M. Delgado	Los tres mosqueteros	Cantinflas / D'Artagnan
1941	Carlos Villatoro	Carnaval en el trópico	Cameo
1941	Alejandro Galindo	Ni sangre, ni arena	El Chato / Manuel Márquez "Manolete"
1941	Miguel M. Delgado	El gendarme desconocido	Badge Number 777
1940	Juan Bustillo Oro	Ahí está el detalle	Cantinflas / "Leonardo del Paso"
1940	Carlos Toussaint	Cantinflas y su prima (short)	Cantinflas
1940	Fernando Rivera	Cantinflas ruletero (short)	Cantinflas
1940	Fernando Rivera	Cantinflas boxeador (short)	Cantinflas
1939	Fernando Rivera	Jengibre contra Dinamita (short)	Cantinflas
1939	Fernando Rivera	Siempre listo en las tinieblas (short)	Cantinflas
1939	Chano Urueta	El signo de la muerte	Cantinflas
1937	Arcady Boytler	Águila o sol	Polito Sol
1937	Arcady Boytler	¡Así es mi tierra!	El Tejón
1936	Miguel Contreras Torres	No te engañes corazón	—

See also

• Mononymous persons

Notes

1. ^ Candelaria, Cordelia; Arturo J. Aldama, Peter J. Garcia (2004). Encyclopedia of Latino Popular Culture: Volume I, A-L. Greenwood. p. 103. ISBN 031333210X. http://books.google.com/books?id=STjcB_f7CVcC&lpg=PR80&pg=PA103#v=onepage&q&f=false. 
2. ^ "Cantinflas: 1911-1993: Actor, Comedian - Mexico's Answer To Charlie Chaplin". Jrank. http://biography.jrank.org/pages/3808/Cantinflas-1911-1993-Actor-Comedian-Mexico-s-Answer-Charlie-Chaplin.html. Retrieved 2009-10-18. 
3. ^ ^{a b} Cantinflas biography by Allmovie Retrieved January 24, 2006.^{[dead link]}
4. ^ Yahoo Cantinflas biography. Retrieved February 9, 2006.
5. ^ ^{a b c d e} Cantinflas article by the Los Angeles Times Retrieved January 24, 2006
6. ^ Ilan Stavans. The riddle of Cantinflas: Essays on Hispanic popular culture, 1st ed. ISBN 0-8263-1860-6. Albuquerque, NM: University of New Mexico. 1998, page 37.
7. ^ Biography from Vanity Magazine Retrieved January 29, 2006.
8. ^ (Spanish) Moreno Laparade gana derechos sobre las 39 cintas de Cantinflas ("Moreno Laparade wins the rights over 39 of Cantinflas films"), La Jornada. March 11, 2005. Retrieved February 9, 2006.
9. ^ (Spanish) Hijo de Cantinflas triunfa en la Corte ("Cantinflas' son wins in court"), Univision. August 12, 2005. Retrieved February 9, 2006.
10. ^ Columbia gains ownership of films. Retrieved January 28, 2006^{[dead link]}
11. ^ Monsiváis, Carlos (1999). "Chapter 4" Hershfield, Joanne; Maciel, David R. Mexico's Cinema: A Century of Film and Filmmakers, 1, 49-79, Wilmington, Delaware: Scholarly Resources, Inc. ISBN 0-8420-2681-9.
12. ^ Top 100 movies of Mexican cinema by Somo magazine Retrieved January 28, 2006
13. ^ Film awards for Cantinflas Retrieved January 29, 2006.
14. ^ Variety magazine review of film Retrieved January 29, 2006
15. ^ Box office figures from Box Office Mojo Retrieved January 31, 2006
16. ^ The Power and No Story Retrieved January 27, 2006
17. ^ Article on theatre re-enactment of Cantinflas' humor Retrieved January 30, 2006
18. ^ Cantinflear at the Dictionary of the Royal Spanish Academy Retrieved January 21, 2006
19. ^ D'Souza, Karen. Mercury News "Remembering Cantinflas"
20. ^ Yahoo entry on the Cantinflas Show Retrieved January 24, 2006
21. ^ Biography from Barnes & Noble Retrieved January 25, 2006.
22. ^ Mario Moreno "Cantinflas" Award Retrieved January 29, 2006
23. ^ Cantinflas and the Chaos of Mexican Modernity. Retrieved February 1, 2006
24. ^ Monsiváis, p. 52
25. ^ Novo, p. 47
26. ^ Pilcher, p. xxii
27. ^ Pilcher, p.xviii
28. ^ Jones, Michael (January 6, 2009). "Monteverde to handle 'Cantinflas'". Variety. http://www.variety.com/article/VR1117998028.html?categoryid=1236&cs=1. 

References

• Garcia Riera, Emilio, 1970. Historia documental del cine mexicano, vol. II.
• Leñero, Vicente. Historia del Teatro de los Insurgentes.
• Monsiváis, Carlos, 1999. Cantinflas and Tin Tan: Mexico's Greatest Comedians. In Hershfield, Joanne, and Maciel, David R. (Eds.), Mexico's Cinema: A Century of Film and Filmmakers, pp. 49–79. Wilmington, Delaware: Scholarly Resources, Inc. ISBN 0-8420-2681-9
• Morales, Miguel Ángel, 1996. Cantinflas: Amo de las carpas. México: Editorial Clío, Libros y Videos, S. A. de C. V. ISBN 968-6932-58-5
• Novo, Salvador, 1967. Nueva grandeza mexicana. México: Ediciones Era.
• Pilcher, Jeffrey M., 2001. Cantinflas and the chaos of Mexican modernity. Wilmington, Delaware: Scholarly Resources. ISBN 0-8420-2769-6
• Smith, Ronald L. (Ed.), (1992). Who's Who in Comedy pp. 88–89. New York: Facts on File. ISBN 0-8160-2338-7
• Stavans, Ilan, 1998. The Riddle of Cantinflas: Essays on Hispanic popular culture. Albuquerque: University of New Mexico Press. ISBN 0-8263-1860-6

External links

• Cantinflas at the Internet Movie Database
• (Spanish) Cantinflas at the cinema of Mexico site of the ITESM
• Cantinflas: A Centennial by Jaime Perales Contreras in Literal Magazine(Spanish version)
• (Spanish) Cantinflas Fan site

Awards and achievements
Preceded by Tom Ewell for The Seven Year Itch	Golden Globe Award for Best Actor - Motion Picture Musical or Comedy 1957 for Around the World in Eighty Days	Succeeded by Frank Sinatra for Pal Joey

Persondata
Name	Cantinflas
Alternative names
Short description
Date of birth	August 12, 1911
Place of birth	Mexico City, Mexico
Date of death	April 20, 1993
Place of death	Mexico City, Mexico