538:(1938). Orol and Pons were married between 1940 and 1945. After divorcing Pons, Orol decided to launch the Costa Rican actress and dancer Yadira Jimenez. However, their collaboration was fleeting. In Cuba, Orol discovered Rosa Carmina, his next filmic muse. Orol and Rosa Carmina were married between 1950 and 1955. Rosa Carmina is considered the most representative of his filmic muses. Later, Orol married the Cuban actress Mary Esquivel. They were married between 1955 and 1963. After Rosa Carmina, a friend introduced him to his niece, Dinorah Judith. Judith was his last muse and last wife, remaining married to her until his death.
365:, which was an unexpected success and starred his first filmic muse, Consuelo Moreno. Orol's films developed a signature style, with the recurring themes of the tropics, the rumberas, exotic landscapes, beautiful and provocative women and the cabaret as an ideal location. These hooks allowed Orol to attract an audience to his films. He later introduced gangsters to his repertoire. On many occasions, to outwit the film unions of Mexico, he invented co-productions with other countries, primarily with Cuba.
310:. Later, he moved to Mexico, where he was also part of the secret police. His biography is absolutely bizarre, full of impossible and unconnected episodes. But despite his poor cultural training, he survived. His steps in the bullfight arena and the police order were a great inspiration for subsequent film work. His premature widowhood put on face with a parental responsibility. He started working on the radio as artistic director and publicist while he contacting with the nascent Mexican film industry.
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sophisticated technician, unlike his friend Ramon Peon. Orol did things because of his drive and his passion for the films without taking much time in his studio. He did not try to explain the psychology of his characters and the geography of the locations that he used. For him it was enough that there were scenes and characters. However, his films proved successful and managed to reach the public taste. Not surprisingly, Orol boasted that he was
415:(1947). Although Pons and other of his subsequent filmic muses were exclusive stars of España Sono Films, Orol allowed them to work with other production houses. Pons was the first major rumbera of the Mexican Cinema. Because of this, Orol was considered one of the main promoters of the Rumberas film of the forties and fifties. After his break with Pons, Orol made the film
559:, canonized as "the worst director of all time". However, unlike the American filmmaker, Orol did not need a posthumous tribute to be recognized. He earned box office success in his time, the public admired his filmic muses and his evil gangsters, no matter the plot and technical poverty of his productions. He ignored criticism of his work, like with
567:, his biggest hit, in 1950. Ed Wood, meanwhile, never hit the mainstream. His works were a succession of failures with limited exhibitions, and he only made a fifth of the number of films that Orol made. But both share the precariousness of their mode of production, and today are considered "cult directors".
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Juan Orol was famous for introducing numerous foreign actresses (mostly Cuban) to the
Mexican Cinema. His first wife was Amparo Moreno, sister of the actress Consuelo Moreno, his first filmic muse. With her, he fathered his only child, Arnoldo Orol Moreno, who between the late 1940s and early 1950s,
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In his later years Orol lived in a deep depression. Despite various film tributes in his honor, he lived in a deep poverty. He assumed that his film collection had succumbed to the fire at the
National Film Archives of Mexico (Cineteca Nacional) in 1982. In fact, only some original negatives of his
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Juan Orol was a "one man band" in his movies. In most of them, he participated in more than two or three of the main activities of the film: production manager, director, producer, writer or actor. He was a man who felt he should participate in and supervise everything. Despite this, he was not a
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origin, who taught him all his dance techniques. Young Orol had many occupations at the same time: boxer, mechanic, racing driver, journalist, actor, bullfighter and police officer. He abandoned boxing when his face was disfigured. In his racer role, was about to drive in
419:(1946), starring the Costa Rican actress Yadira Jimenez in the lead role. However, Jimenez failed to develop a relevant film relationship with Orol. In search of a new female star of his films, Orol moved to Cuba, where he discovered what would be his next filmic muse:
583:(1957), says that Orol ordered Mary Esquivel to paint each of her nails a different color to extend her hands to the camera, thus reducing production costs. Likewise, he did not go in search of exotic locations, although his plots required them in most cases. In
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In the mid-forties, he consolidated his own production house, España Sono Films. Likewise, he created in Cuba the Caribe Films production company, helping him to make his co-productions with the island. Orol filmed in different countries: Mexico, Cuba,
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Eventually, Orol met his last filmic muse, Dinorah Judith, with whom he directed his last films. At this time, the films of Orol were panned by critics, and reputedly, the director went through a deep depression. His films during this period include
377:, and Spain. Juan Orol had also a "one man band" performance in movies. In most of them, he participated in more than two or three of the main activities of the film: production manager, director, producer, screenwriter and actor.
483:, a Cuban-Mexican production, as director, producer and screenwriter, with Marta Rams and Julio Capote as main actors. In the same year, Orol was introduced to his next filmic muse: Mary Esquivel. Esquivel debuted in the film
282:. His father was a commander of the Spanish armed forces. His mother, a woman of peasant origin, was a single mother. Later, she married a man who didn't want to take care of another man's son, so she sent Orol to
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for having the laid the foundations that enriched the film genre. Also, he is known for having imported to the
Mexican Cinema two of the biggest stars of the genre: MarĂa Antonieta Pons and Rosa Carmina.
430:(1946). She became the most representative and prolific filmic muse of Orol. Both filmed together sixteen films between 1946 and 1955. Probably the most notable are the classic
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In 1938, he met the rumbera MarĂa
Antonieta Pons in Cuba. Orol and Pons became a dancing couple, and he decided to introduce her as an actress in Mexico in the film
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Initially Orol entered the
Mexican film industry as another way to make a living, but eventually he developed a passion for the world of cinema. Orol debuted in the
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587:(1944), whose screenplay was set in Chicago, a bus in the background reads "Cozumel Peralvillo-Line", a typical line of trucks of Mexico City. In
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served as executive producer of three of Orol's films. Arnoldo died in a workplace accident on a film set. Amparo died by tuberculosis in 1937.
563:(1957), a film that the critics directly called "very bad". He even had the luxury of doing remakes of his own work: he made a new version of
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235:, was a Spanish-born Mexican actor, film producer, director and screenwriter. Orol was a pioneer of the Mexican cinema's first
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After his first film made modest earnings, he filmed a second film in 1934, where he served as co-director with Ramon Peon:
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Orol stretched his film's budgets and was known as a director of one shot. He did not use special effects in his works. In
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330:. The following year, Orol risked his own capital and premiered simultaneously as producer, writer and star in the film
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In Cuba, Orol lived in the low neighborhoods, known in Cuba as "solares". There, he had a lot of contact with people of
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487:(1956), a film that was also the first movie Orol filmed in color. His last major production involving Esquivel was
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591:, a film that takes place in the Amazon rainforest, there is in the background a monument to Bolivar from the
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326:(1933), made by the newly created Aspa Films under the direction of RamĂłn Peon, also known as the
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511:(1978). The last appearance of Juan Orol on the big screen as an actor was in the film
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virtually all the armed men died, but none shed a drop of blood. The film director
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CinemaNet: Juan Orol, his life and films in the voice of
Eduardo de la Vega Alfaro
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CinemaNet: Juan Orol, his life and films in the voice of
Eduardo de la Vega Alfaro
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1097:. Consejo Nacional para la Cultura y las Artes (CONACULTA) / Cineteca Nacional.
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515:(1981). He made a cameo as himself, in a brief scene lasting under a minute.
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614:. The film is based on real events, but freely interpreted by the authors.
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338:(1935), the third production of Aspa Films. Orol was a devotee of American
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507:(1970), made with American co-production. His last film as director was
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Juan
Rogelio GarcĂa GarcĂa was born on August 4, 1897, in the parish of
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610:, directed by Sebastian del Amo. Orol is played by the Mexican actor
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Juan Orol is also regarded as the spiritual father of the called
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Desde mi luneta: Musas, divas y esposas de Juan Orol por ciclos
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El
Universal: El fantástico mundo de Juan Orol llega al cine
334:, also directed by Peon. He debuted as director in the film
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He died of liver disease in Mexico City on May 26, 1988.
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in Mexico City. Juan Orol did not care about details.
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La actriz
Fernanda Romero interpreta a Dinorah Judith
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The Goddess of Tahiti (The Jackals of the Isla Verde)
446:. Other relevant films of Orol with Rosa Carmina are
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Juan Orol has been compared with American filmmaker
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380:The first Orol production in the Cuban cinema was
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790:Under the Fear Influence (Gangsters in the Sport)
606:In 2012, Juan Orol was the subject of the biopic
231:(August 4, 1897 – May 26, 1988), better known as
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479:After separating from Rosa Carmina, Orol filmed
397:With MarĂa Antonieta Pons, Orol made films like
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1169:La vida es peor que una pelĂcula de Juan Orol
1233:The Broken Image: Las mujeres de Juan Orol
1158:, MĂ©xico, 1993, ed. Grupo Azabache, p.211
802:The Lame Waitress of the Cafe of the Port
796:Dangerous Secretary (International Agent)
481:The Lame Waitress of the Cafe of the Port
1268:, MĂ©xico, 1993, ed.Grupo Azabache, p.212
519:early films were lost in that incident.
636:Women without Soul: A supreme vengeance
163: 1950; died 1955)
109: 1934; died 1937)
16:Mexican-Spanish actor and film director
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1081:) (1999). In SOMOS. MĂ©xico: Editorial
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1060:. Universidad de Guadalajara (CIEC).
832:Tahimi, the Daughter of the Fisherman
784:Crime Syndicate (Prelude to the Death
617:
489:TahimĂ, The Daughter of the Fisherman
363:Women without Soul: Supreme Vengeance
239:and one of the main promoters of the
1093:Dictionary of Mexican Film Directors
1373:Film directors from Galicia (Spain)
1056:De la Vega Alfaro, Eduardo (1997).
394:, his second filmic muse, debuted.
354:. However, Orol himself recognized
249:. His films have been described as
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1398:20th-century Mexican screenwriters
1383:Mexican people of Galician descent
1079:The Rumberas of the Mexican Cinema
882:The Fantastic World of The Hippies
505:The Fantastic World of the Hippies
322:as a supporting actor in the film
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1403:20th-century Mexican male writers
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1018:Muñoz Castillo, Fernando (1993).
462:(1951) (based on a comic book by
426:Rosa Carmina debuted in the film
608:El fantástico mundo de Juan Orol
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386:(1938), which features music by
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856:Prelude to the Electric Chair
662:The Secrets of the Underworld
501:Prelude to the Electric Chair
403:The Secrets of the Underworld
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844:Under The Cloak of The Night
826:The Turtledove of the Ajusco
503:(1966) and the cult classic
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246:Golden Age of Mexican cinema
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1264:Muñóz Castillo, Fernando.
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762:What a idiots are the Men!
549:The director of the crowds
229:Juan Rogelio GarcĂa GarcĂa
33:Juan Rogelio GarcĂa GarcĂa
1388:Spanish emigrants to Cuba
814:Zonga, The Diabolic Angel
808:I Hate You and I Love You
777:Sandra, The Woman of Fire
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573:Gangsters Versus Cowboys
433:Gangsters Versus Cowboys
585:Los misterios del hampa
436:(considered today as a
286:to live with a friend.
1378:Spanish film directors
1266:Las Reinas del TrĂłpico
1156:Las Reinas del TrĂłpico
642:You Honor Your Parents
1089:Ciuk., Perla (2000).
953:Treacherous Deadlines
919:A Woman from the East
862:La Virgen de la Calle
820:Treacherous Deadlines
722:The Underworld Cowboy
692:A Woman from the East
593:Bosque de Chapultepec
579:, camera operator of
469:The Goddess of TahitĂ
428:A Woman from the East
1290:SOMOS (1999), p. 6-8
1022:MarĂa Antonieta Pons
991:MarĂa Antonieta Pons
850:The Curse of my Race
744:The Hell of the Poor
686:The Love of my BohĂo
680:Pasiones tormentosas
497:The Curse of my Race
417:The Love of my BohĂo
392:MarĂa Antonieta Pons
186: 1955;
134: 1940;
120:MarĂa Antonieta Pons
1279:The Mexican Ed Wood
1222:SOMOS (1999), p. 10
959:Story of a Gangster
875:Pasiones infernales
868:Story of a Gangster
513:Ni modo...asĂ somos
474:Dangerous Secretary
458:(1949) the trilogy
1252:2014-10-15 at the
1041:. Grupo Azabache.
977:Ni modo, AsĂ somos
926:Gangster's Kingdom
838:Blood on the Gully
707:Gangster's Kingdom
618:Select filmography
344:Edward G. Robinson
302:under the name of
669:Caribbean Bewitch
408:Caribbean Bewitch
270:, in the town of
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1038:Rosa Carmina
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64:(1988-05-26)
62:May 26, 1988
1358:1988 deaths
1353:1897 births
1026:Meche Barba
888:Death Train
630:Dear Mother
565:Dear Mother
472:(1953) and
411:(1946) and
371:Puerto Rico
336:Dear Mother
308:Esparterito
70:Mexico City
1347:Categories
1196:2015-02-21
1141:2015-02-21
1113:References
276:Pontevedra
262:Early life
251:cult films
51:Pontevedra
39:1897-08-04
1334:Juan Orol
1320:Biography
1058:Juan Orol
729:Wild Love
455:Wild Love
438:Cult film
356:José Bohr
340:Film noir
304:Espartero
257:Biography
233:Juan Orol
81:1927–1981
23:Juan Orol
1250:Archived
1083:Televisa
985:See also
904:Sagrario
682:) (1946)
623:Director
589:Zonga...
499:(1964),
491:(1958).
476:(1955).
452:(1948),
405:(1945),
401:(1944),
324:Sagrario
219:Children
72:, Mexico
1322:at the
1006:Ed Wood
912:Siboney
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383:Siboney
291:African
268:Santiso
243:in the
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979:(1981)
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542:Legacy
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373:, the
314:Career
1328:ITESM
896:Actor
280:Spain
272:Lalin
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350:and
284:Cuba
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59:Died
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