Sara Garcia
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Sara Garcia is an actress and writer, known for Флэш (2014), Царство (2013) and Лагерь Х (2015).
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2021
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From Wikipedia, the free encyclopedia
García in the 1937 film No basta ser madre
^ Jump up to: a b c "Sara García" . Estrellas del cine Español (in Spanish) . Retrieved 24 March 2018 .
^ Jump up to: a b c d e f g h i j k l m Mauricio Mejía Castillo (27 May 2017). "La triste historia de la abuelita más famosa de México" . El Universal (in Spanish) . Retrieved 19 March 2018 .
^ Jump up to: a b "Sara García" . SensaCine (in Spanish) . Retrieved 3 March 2019 .
^ Jump up to: a b "Sara García, 37 años sin la 'abuelita' del cine mexicano" . Europa Press (in Spanish). 21 November 2017 . Retrieved 25 March 2018 .
^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v w x y "Biografía de Sara García" . México Lindo y Querido (in Spanish). 25 April 2017 . Retrieved 3 March 2019 .
^ Jump up to: a b c d "Los controversiales secretos de Sara García" . Azteca Uno (in Spanish). 5 November 2010 . Retrieved 20 March 2018 .
^ Jump up to: a b Jorge Hernández (10 August 2018). "Página negra: Sara García, la mujer que nunca fue joven" . La Nación (in Spanish) . Retrieved 3 March 2019 .
^ Ricardo, Hernández (22 November 2015). "Recordando a... Sara García" . El Sol de México (in Spanish) . Retrieved 27 March 2018 .
^ José, Arrieta (8 September 2015). "Recuerda a Sara García" . Reforma (in Spanish) . Retrieved 25 March 2018 .
^ "Los tres García" . México Es Cultura (in Spanish). 21 November 2017 . Retrieved 3 March 2019 .
^ Jump up to: a b Salvador Franco Reyes (8 September 2015). "Sara García, la abuelita de muchas caras" . Excélsior (in Spanish) . Retrieved 3 March 2019 .
^ "Sara García: La vida en el clóset de la 'Abuelita del Cine Mexicano ' " . Ulisex! (in Spanish). 28 August 2017 . Retrieved 20 March 2018 .
^ "Media hora con Abuelita" . IMDb . Retrieved 27 March 2018 .
^ "Un rostro en el pasado" . IMDb . Retrieved 25 March 2018 .
^ "Mundo de juguete" . IMDb . Retrieved 25 March 2018 .
^ "Viviana" . IMDb . Retrieved 25 March 2018 .
^ "Biografía de Sara García" . México Lindo y Querido (in Spanish). 25 April 2017 . Retrieved 24 March 2018 .
^ "Cuidadores del Panteón Español" . Time Out (Ciudad de México) (in Spanish) . Retrieved 24 March 2018 .
^ "Mi Cariñito" . iTunes . Retrieved 24 March 2018 .
^ Mejía Castillo, Mauricio. "La triste historia de la abuelita más famosa de México (The sad story of Mexico's most famous grandmother)" . El Universal . Mexico City, Mexico . Retrieved 3 November 2020 .
^ "Conoce la historia de Chocolate Abuelita en su 80 aniversario (Learn about the history of Chocolate Abuelita on its 80th anniversary)" . Telediario . Mexico City, Mexico. 30 October 2019 . Retrieved 3 November 2020 .
^ "Chocolate Abuelita Historia" . Nestlé (in Spanish) . Retrieved 3 March 2019 .
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Sara García Hidalgo (8 September 1895 [2] – 21 November 1980) was a Mexican actress who made her biggest mark during the " Golden Age of Mexican cinema ". [4] During the 1940s and 1950s, she often played the part of a no-nonsense but lovable grandmother in numerous Mexican films. In later years, she played parts in Mexican telenovelas .
García is remembered by her nickname, La Abuelita de México ("Mexico's Grandmother"). [3]
Sara García Hidalgo was born on 8 September 1895 at Orizaba Veracruz . [1] [5] Her parents were Andalusian , Isidoro García Ruiz, an architect, and his wife Felipa Hidalgo de Ruiz in 1895. [2] Her father was hired for various jobs in Veracruz, where they arrived, having just come from Havana , Cuba . [5] Sarita was the only survivor of their eleven children. [6]
In 1900, a storm caused the Santa Catarina river (which separated the family house from Sara's school) to overflow and knock down the bridge that crossed it. Until the evening the children of the school could return from the other side of the river. [2] The anguish of Don Isidoro for believing that he would lose his only daughter caused him to suffer a stroke days later. Doña Felipa decided to sell her business a papier-mâché factory and travel to Mexico City to intern her husband into the Sociedad de Beneficencia Española de México (Spanish Welfare Society of Mexico), but he died shortly after arriving. [2] [5] However her mother was contracted as the housekeeper. [5]
At age 9, Sara entered the prestigious Las Vizcaínas school as an intern. [2] [5] In 1905 a typhus epidemic invaded Mexico, Sara became infected and infected her mother Felipa, who died. [2] [5] She remained under the charge of the director of the institution, Cecilia Mallet, [2] and her good behavior and excellent grades allowed García to stayed in school. The director of Las Vizcaínas noticed her great sensitivity and artistic inclination and directed her into painting. [5] She also became a teacher and during her class she used to make her students performed plays. [2]
Sara started her film career at age 22 when she was still a teacher. [2] One day she decided to stroll by the Alameda and discovered the newly founded Azteca Films studios. [5] She came in with curiosity and was fascinated by everything she saw. From that moment she thought that she could also act, even if it was in the theater. [5] One day, watching Mimi Derba filming, the first Mexican film diva, an actor and official of Azteca Films caught her curiosity and invited her to participate in what would be her first film En defensa Propia "In self-defense" (1917). [5] Then she went to the theater where she started making small roles. [5] Her diction and voice gave her prestige and she became part of the most outstanding companies of the moment: Mercedes Navarro, Prudencia Grifell and the sisters Anita and Isabelita Blanch. [5] In one of her tours throughout the Mexican Republic, she met Fernando Ibáñez, whom she had seen during the filming of "La soñadora" (1917). [5]
In 1918, she married Fernando Ibáñez [2] and traveled throughout the country and Central America, until at a stop in Tepic, she gave birth to a girl, whom they named Fernanda Mercedes Ibáñez García. [5] Sara had to dedicate time and take care of her daughter. Her absence bothered Fernando, who began to get involved in several adventures, then became entangled with the head of the company. [5] Sara divorced her husband and left with her daughter. [5] Years later her ex-husband returned home sick. Sara paid for his expenses and cared for him until his death in 1932. [5] Established firmly in the theater, she began to be called to work in the cinema. Her daughter Fernanda also ventured into the cinema with the movie "La madrina del diablo" (1937) in which she played Jorge Negrete's girlfriend. [5] Outside the sets, he courted her with Sara's disapproval. The romance ended abruptly and the following year (1938) Fernanda married the engineer Mariano Velasco Mújica, leaving to live in Ciudad Valles, Tamaulipas. [5] A little more than two years later Fernanda became ill with typhoid fever and died on October 17, 1940. Due to her strong personality Sara survived her daughter 40 years. [5]
García would later continue her extensive career in film and sacrificed her beauty when she decided, at the age of 30, to have her teeth removed so that her mouth would look like that of an older woman and thus be able to star in roles of self-sacrificing ladies and achieve personify the role they gave her. [6]
Film actress Emma Roldán suggested Sara García for the role of doña Panchita , an old woman, in the 1940 film Allá en el trópico ("There in the Tropics"). [5] The film's director Fernando de Fuentes considered that García was too young for the part (indeed she was in her mid 40s) but Roldán replied him saying "Sara is an actress, and actresses don't have an age". [5] For the screen test, Sara García had a wig made for her. At the time of the screen test, the director asked the crew of her whereabouts and they answered that she was the woman in front of him, the director was shocked: her wig, lack of teeth, and performance had touched him. [5] It is in Fernando de Fuentes' Allá en el trópico where Sara García won her title of la Abuelita de México (Mexico's Grandmother). [5]
In 1942, Sara García co-starred with Joaquín Pardavé in El baisano Jalil , a comedy film where she portrayed the wife of a Lebanese -immigrant family, one of the marginalized communities settled in the La Lagunilla neighborhood, when they arrived in Mexico City. [7] She starred again with Pardavé in a similar comedy, El barchante Neguib (1945). [7]
She started a long series of films co-starring with the brightest stars of the cinema of Mexico , such as Cantinflas , Jorge Negrete , Germán Valdés "Tin-Tan" . [8]
She co-starred many times in films as the grandmother of famous Mexican actor Pedro Infante . Her most remembered film with him is the 1947 Los tres García where she also starred alongside Abel Salazar and Víctor Manuel Mendoza, playing the role of their grandmother with a strong, naughty and authoritarian attitude. [9] [10]
García continued working with Pardave and appeared with him on El ropavejero "The junkman" (1947) and in Azahares para tu boda "Orange blossoms for your wedding" (1950), which were her last jobs with him. [11] Garcia's nature was also deeply irreverent, and she showed it in films like Doña Clarines (1951), in which she makes fun of her grandmother's character, something she repeated in Las señoritas Vivanco "The Misses Vivanco" (1959) and in El proceso de las señoritas Vivanco "The process of the Misses Vivanco" (1961), both in which she acted along with Prudencia Grifell and were directed by Mauricio de la Serna. [11]
In that decade she combined her work between film and television, appearing in multiple soap operas such as A Face in the Past (1960), La gloria Quedo atrás (1962), La Duchess (1966), in which a lottery ticket seller wins the jackpot and uses that money to get her daughter back, whom she had given up to her millionaire in-laws in the past.
In that decade we also saw her in the pages of a comic-book adventure story entitled "Doña Sara, la mera mera", in which she was dressed as the character she had made famous in Los tres García and Vuelven los García . In the 1970s, her grandmother character took part in films such as "Fin de fiesta" (1972), by Mauricio Walerstein, and Luis Alcoriza's "Mecánica Nacional" (1972), in which she utters some of the most famous insults of our cinematography, but that had their charm emanating from that mouth that had represented so much for the moral society of Mexico.
In the 70s she appeared as Nana Tomasita, who looked after Cristina (Graciela Mauri) in the long-running telenovela Mundo de juguete (1974) and as a meticulous old woman from the Caridad segment, directed by Jorge Fons, in Faith, Hope and Charity.
During her tenure on the College of Las Vizcaínas, she met Rosario González Cuenca, the daughter of a marriage that his parents knew on the ship that traveled from Cuba to Mexico. Years after their meeting, both of them reunited after García's divorced to Fernando Ibañez, Rosario at the moment also divorced and both went to reside together, with Rosario becoming in Fernanda's aunt who was Sara García's daughter. [5] Rosario would later become her alleged female lover, assistant, and business manager, and García lived throughout her life with her. [12]
She adored Pedro Infante , but she couldn't stand Jorge Negrete as he had fallen in love with her daughter Fernanda. [6] Many close friends affirm that she was a severe and evil mother-in-law as well as not approving the relationship between Jorge and her daughter. [6]
García had her own television show in 1951, Media hora con Abuelita , [13] but it was a failure and subsequently was cancelled. [4] She returned to television in 1960 when she obtained a role in Un rostro en el pasado [14] which was her first of eight telenovelas that also included Mundo de juguete in 1974, which as of this date (early 2006) the longest-running telenovela in history, [15] and Viviana with Lucía Méndez in 1978. [16]
On 21 November 1980, Sara died at the National Medical Center in Mexico City at the age of 85, due to a cardiac arrest that arose from pneumonia , days before she had been hospitalized after being injured by falling down the stairs of her house. [17]
García was buried alongside her daughter in a mausoleum at Panteón Español cemetery in Mexico City. [18] While she was being buried, the song "Mi Cariñito" ("My Little Darling/Beloved One") was played, as this song was the one that Pedro Infante sang to Sara several times, particularly he sang it drunk and tearful as a lament after Sara’s character died in the movie Vuelven Los Garcia ( The Garcias Return ). [19] It is said that the song was sung at her funeral by Lucha Villa . [2]
In Mexico, García represented a grandmotherly figure due to her many roles as a grandmother in the movies she appeared in, and in 1973 she signed a commercial agreement to allow the chocolate company La Azteca use her image on Mexico's traditional Abuelita chocolate . La Azteca was later purchased by the Nestlé brand in 1995, who continued to use her image on the same brand. [20] [21] [22]
Clotilde Regalado, Leonardo del Paso's mistress
Father Gets Untangled (Papá se desenreda)
Father Gets Entangled Again (Papá se enreda otra vez)
Candelaria López y Polvorilla "Tía Candela"
The Perez Family (La familia Pérez)
Doña Conchita Fernández; doña Chita
Soledad Fuentes Lago (Doña Cholita)
Doña Hortensia Vivanco y de la Vega (as Doña Sara Garcia)
Doña Marina Guerra viuda de Batalla
National Mechanics (Mecánica nacional)
Doña Sara García viuda de García y García
Señora dueña del club de Can-Can (Lady Owner of Can-Can Club)
The Living Idol (El ídolo viviente)
Los dinamiteros ( L'ultimo rififi )
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