#1972 abc

[tina-aumont]

Play Patricio, 1972

The 28th September 1972 "Play Patricio" started at the Teatro Jacinto Benavente in Madrid, this play was written by Emilio Romero and it was directed by Alberto Closas.

Cast:

Alberto Closas - Patricio

María Asquerino

Antonio Bardis

María del Rosal

María Dolores Gordón

Katia Loritz

María Montez

Esperanza Roy

Yumi Yamada

Susana Mayo

These publicity photos are from: October and November 1972 ABC and 15th October 1972 La Estafeta Literaria.

ABC Hemeroteca

Biblioteca Virtual de Prensa Histórica

[tina-aumont]

Low Quality photo showing María Montez II and Manuel Galiana in Cartagena (Spain), celebrating the I Week of Naval Cinema.

2nd August 1972, ABC.

ABC Archives

[tina-aumont]

Photos show Tina Aumont in December 1967, unknown photographer or exact date.

Scans from Spanish magazine ABC, 13th August 1972.

check this link to find all 1967 photoshots untagged ^^

[tina-aumont]

The daughter of María Montez or the mythification of a myth (IV/IV)

by Santiago Castelo.

She can make good movies, because she carries the blood of good interpreters, and Tina knows it. She knows that she feels within Art, elevated to the rank of capital, but that life is stronger. She has been in "La Curée". It was seen that she was a good actress. That she could not live eternally on the paternal income of stardom. She also played in "Modesty Blaise", and "Carmen". Like her mother, she also wanted to be the gypsy "Carmen" in a farala dress. Maybe one thing happens: that life has not yet taught Tina Aumont her hardest lesson. May God, when she does, be not too late. Her qualities as an actress, her figure, her panache, her insinuation, her art, yes, why not? Her art, can make her a very first class film actress. When life has taught her that Maria Montez left many years ago to other more real worlds where Technicolor does not exist and she is a woman - heir of surnames, of courage - who has to make her way alone through a world of today, in the one that is not worth the sophistications. When she triumphs, when she realizes her vocation as an artist, then, yes, she will offer her mother her triumphs. Even that is wrapped in sari and that is tent on the couch or on the Persian cushions. Then, in silence, she may be the daughter of María Montez, the girl who, very young, lost her beautiful mother. In the subconscious, Tina is María, but at the cinema this problem does not apply. Now, Tina Aumont must show off herself. Be Tina Aumont. And show off her name as a woman and as an actress. When this happens, it will not matter if she impersonates her mother. Locking in the past myth is suicidal for her. She has received training in France and the United States. She has studied dramatic art. She has a claw, and light, and blood. She can be whatever she wants, as she could be the muse of Manuel Machado or the "chiquilla piconera" by Romero de Torres. The day she get it, right then, she will shed the best tears of her life as a child of broken myths. Embracing the memories she will hear perhaps a Dominican dance or a Canarian tajaraste. Only then, once again, will she comfort her woman's tears that consoled her tears as a child, when she looked proud, back in the forties, on the luminous covers of magazines.

Photos show Tina Aumont in 1968, pictured probably (but not sure) by Tony Grylla. Scans and caption from Spanish magazine ABC, 13th August 1972.

[tina-aumont]

The daughter of María Montez or the mythification of a myth (II/IV)

by Santiago Castelo.

All this seems and yet it is Tina Aumont, in her early twenties, the daughter of two idols and greening the paternal myths. When they wore their aureoles by the graphic magazines of the world, she was still very little. It was the month of November 1946. On the cover of a film magazine, with that sweet gray and sienna color of the post-war publications, appeared María Montez and Jean-Pierre Aumont, the couple that Hollywood had created and that Hollywood sent, magnificently photographed, to all corners of the world for the use of its consumers. There, in that magazine, they were with her in their arms, smiling magnetically, Tina's parents. Now the daughter, twenty years later, becomes the "sexy" queen of that world left by her mother and reincarnated the same characters, perhaps with more care than the actresses of her mother’s time, whose eroticism was to show the belly, when they were slaves, in some delicious films of the Universal. "I'm afraid of loneliness, or I do not know, possibly I'm afraid of everything" And she sways her back with a tiger's flexibility. Maybe she has started living too soon. "I feel extraordinarily mature, life has taught me a lot, it's the best school". Yes, life can be even better school than Art. Better school than the impulse. Although to live is to repeat another life, that has gone away, and to perpetuate a myth that only remains in the old film libraries and in the memory of those who knew the heroic and sad Forties. Living can simply be reincarnated in memory. But Tina Aumont Montez, with her two sound surnames, does not know that the myth can ruin her. And that the surname Montez, in the unintelligible nebula of evocation, may end up drowning her father's surname. Also her mother could with John Hall, in life. Now she can kill her, dead. A couple of years ago, during my staying in República Dominicana, when the Caribbean moonlight came down to kiss the San Juan fortress or Ponce's fire station, you looked at the eyes of a little girl from the sun and fire, when she recalibrated them. The palmar girl said candidly: they are like those of María Montez. The myth of the Dominican woman transplanted to Hollywood was still alive, beating at every moment, despite such a long distance from her sad death in the bathtub of boiling water in her Parisian home.

Photos show Tina Aumont in 1968, pictured probably (but not sure) by Tony Grylla. Scans and caption from Spanish magazine ABC, 13th August 1972.

[tina-aumont]

The daughter of María Montez or the mythification of a myth (III/IV)

by Santiago Castelo.

Tina Aumont got married at sixteen. Almost a girl, she was a woman completely. She had the Canarian blood of her maternal ancestors, impregnated later by the Dominican birth of her mother. This passionate force of rhythm and life had united the French serenity, the "chic" that she says. Their marriage was short lived. It was almost not known that she had divorced. Another good day, she was twenty-one, we knew she had married again. But nothing more. Today nobody dares to ask her about her intimate life. She will bow an eyebrow like Maria Montez in that Antline of "The Atlantis" and will smile with a mystified gesture. That will be her answer. In North America her few films are exhibited with a not insignificant success. Especially in New York, in the Dominican and Italian neighborhoods. Maybe in homage to the mother and that little girl she wore, back in 1946, tenderly hugging from her neck. In the cinemas of the Dominican neighborhood, around the street 100, you can read on the billboards these claims: "Texas Across the River by the daughter of Maria Montez." This is the truth. Tina Aumont is nothing more than the daughter and heiress of that Antillean interpretation of "Pirates Revenge", "The thief of Bagdad", "Cobra Woman", "Carmen", "Gypsy Wildcat", "La Atlantida" .. Her posings are nothing more than the revitalization of those of her progenitor. Here is the danger of this beautiful girl, Andalusian, Canarian flavored with pineapple and folia, clear Antillean with sighs of mangoes or avocados, sweet French and framed in a Parisian portrait of the "belle époque". This is her danger: that she does not know how to get rid of the shadow of her dead mother.  

Photos show Tina Aumont in 1968, pictured probably (but not sure) by Tony Grylla. Scans and caption from Spanish magazine ABC, 13th August 1972.