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351:, Pons's public appearances were limited. Speculation regarding the location of her residence appeared: Los Angeles, Miami, and New York have been proposed. Starting in the 1970s, she refused to have contact with the public. When her husband Ramon Pereda died, her isolation was higher. She even refused to receive a Diosa de Plata Award. Her reason was:
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on 20 August 2004. Pons had started to have mental lapses, but her death was caused by a heart attack. At her request, her death was announced after the funeral services had concluded. In several interviews, her widower denied that Pons was overweight, and held that she kept the statuesque figure
174:(1938). After her debut in this film, Maria Antonieta performed with Orol in international dance tours in the United States, particularly in New York and Chicago. Towards the end of 1943, Pons returned to film, invited by the producer Guillermo Calderon to act in the film
149:. The Rumberas film genre offered a societal perspective on Mexico during the 40s-50s. It delved into the lives of women deemed as sinners or prostitutes, challenging the prevailing moral and social norms of their era.
328:(1959). Pons began alternating performances in films with performances in major theaters in Mexico City, like The Margo (today Blanquita) or the Follies Bergere.
157:
María
Antonieta Pons began her career as a dancer in Cuba in numerous theaters and night clubs. When she was 16, she met Spanish actor and film director
161:, who became her partner in various dance competitions on the island. After becoming Orol's wife, he took her to Mexico so she could act in films.
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After her break with Orol, Pons was hired by film producer
Gregorio Wallerstein. Under the guidance of Wallerstein, she filmed movies like
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that characterized her in her films. She is survived by her only daughter, Maria
Guadalupe Pereda, from her second marriage.
192:. While still an employee of Orol, Pons began shooting other films with other directors. Highlights from these films are
139:(November 6, 1922 – August 20, 2004) was a Cuban-born Mexican film actress and dancer. She was the first actress in the
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With the decline of the
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Pons met her second husband, the actor and director Ramón Pereda in 1950, when he contracted her to film
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355:. After the death of Ramon Pereda she remarried in 1989, this time to Benjamin Alvarez.
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272:. Pons and Pereda married soon after. With Pereda as director, Pons made films like
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In the 1950s, she had famous film collaborations with
Evangelina Elizondo in
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292:(1954), among others. In 1952 she joined the Brazilian market with the film
255:(1948), among others. In 1949, she performed in the second film version of
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Bellezas del cine mexicano/Beauties of
Mexican Cinema
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All that can be said of me, was reflected in my films
188:. Eventually, Pons returned to Orol's films with
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261:(the first version was realized by the actress
722:Las Reinas del Tropico: María Antonieta Pons,
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467:The Private Life of Mark Antony and Cleopatra
216:, among others. Her last film with Orol was
231:La vida íntima de Marco Antonio y Cleopatra
29:
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761:) (1999). In SOMOS. México: Editorial
16:Cuban-born Mexican actress (1922–2004)
265:in 1934), directed by Tito Davison.
164:María Antonieta Pons debuted in the
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759:The Rumberas of the Mexican Cinema
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769:Agrasánchez Jr., Rogelio (2001).
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233:(1946), with the Argentine actor
773:. Archivo Fílmico Agrasánchez.
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145:in the 1940s and 1950s, in the
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755:Las Rumberas del Cine Mexicano
674:Una estrella y dos estrellados
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326:Una estrella y dos estrellados
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592:¡Que bravas son las costeñas!
386:La última aventura de Chaflán
363:María Antonieta Pons died in
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335:(1965), alongside the singer
298:¡Que bravas son las costeñas!
904:Golden Age of Mexican cinema
899:20th-century Cuban actresses
147:Golden Age of Mexican cinema
130:Benjamín Álvarez (1989-2004)
37:Qué bravas son las costeñas!
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310:Germán Valdés "Tin Tan"
300:(1955); Antonio Espino
874:Mexican film actresses
699:Romance in Puerto Rico
894:Actresses from Havana
692:El centauro del norte
649:It Happened in Mexico
521:The Woman of the Port
889:Cuban film actresses
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662:La flor de la canela
540:El ciclón del Caribe
459:La reina del trópico
452:Pasiones Tormentosas
418:Toros, amor y gloria
318:Las mil y una noches
270:El ciclón del Caríbe
226:La reina del trópico
218:Pasiones tormentosas
137:Maria Antonieta Pons
49:María Antonieta Pons
23:María Antonieta Pons
831:SOMOS (1999), p. 24
822:SOMOS (1999), p. 13
412:¡Viva mi desgracia!
258:La mujer del puerto
204:(1944), along with
194:¡Viva mi desgracia!
740:. Grupo Azabache.
628:La Odalisca No. 13
622:La odalisca no. 13
616:Nunca me hagan eso
547:La reina del mambo
528:Un cuerpo de mujer
322:La Odalísca no. 13
306:Nunca me hagan eso
294:Carnaval Atlántida
275:La reina del mambo
680:Las cuatro milpas
610:Teatro del crimen
580:Casa de perdición
506:La hija del penal
445:Embrujo antillano
314:Teatro del crímen
308:(1956); and with
290:Casa de perdición
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168:in the film
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76:(2004-08-20)
36:
869:2004 deaths
864:1922 births
724:Meche Barba
668:Acapulqueña
534:Piña madura
372:Filmography
365:Mexico City
288:(1952) and
249:(1947) and
206:Katy Jurado
126:(1940-1945)
90:Nationality
82:Mexico City
858:Categories
810:2023-10-14
789:References
706:Caña Brava
586:La gaviota
349:Caña Brava
343:Retirement
333:Caña brava
302:Clavillazo
55:1922-11-06
437:Rosalinda
399:Red Konga
210:Rosalinda
181:Red Konga
159:Juan Orol
124:Juan Orol
120:Spouse(s)
63:La Habana
763:Televisa
320:(1957),
316:(1956),
284:(1950),
278:(1950),
245:(1947);
229:(1946);
220:(1946).
84:, Mexico
35:Pons in
379:Siboney
184:beside
171:Siboney
94:Mexican
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708:(1964)
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408:(1944)
406:Balaju
402:(1943)
394:(1942)
388:(1942)
382:(1938)
347:After
208:; and
202:Balajú
153:Career
65:, Cuba
39:(1955)
359:Death
98:Cuban
849:IMDb
775:ISBN
742:ISBN
71:Died
45:Born
847:at
312:in
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