Payday Loans
Maria Montez (1912-1951)

  1. Rita Hayworth, Blood and Sand, 1940.      Good thinking!  The gorgeous  Dominican Maria Africa Antonia Gracia Vidal de Santo Silas was high in the frame for Fox’s sexiest role of the year - the manipulative socialite vamp, Doña Sol,  toying with Tyrone Power’s matador in the re-hash of Rudolph Valentino’s 1921 silent classic. Also considered: Lynn Bari, Betty Grable, Hedy Lamarr, Dorothy Lamour Carole Landis, Mona Maris, Jane Russell,  Gene Tierney. And Ava Gardner?  Not synonymous with  bullfighters until the 50s!
  2. Marlene Dietrich, The Flame of New Orleans, 1941.    Montez was held (quietly) in reserve, in case Marlene Dietrich disliked the way French director René Clair was having enormous fun with her image.
  3. Marie McDonald, Pardon My  Sarong, 1942.   “The Caribbean Cyclone” wanted a change from exotica. And, anyway, wasn;t Dorophty Lamour the Sarong Queern? And anyway wasnt Dorohty Lamour The Sarong Queen. McDonald was an odd replacement, nothing Spanish about her.  Known as The Body, she was a champion self-promoter: a fake kidnapping in 1956, seven marriages, countless affairs: Bruce Cabot, Vic Damone, Eddie Fisher, Cuban millionaire Jose Novak, gangster Busgy Siegel. Michael Wilding… before ODing on on Percodan in 1965. Montez’s second husband was French star Jean-Pierre Aumont, from 1943 to her death.  Their actress daughter,  Tina Aumont,  worked with Bertolucci,  Commencini, Losey, Rossi  plus Felliini (twice) and Tinto Brass (thrice). 
  4. Yvonne de Carlo’s, Fontier Gal, 1947.    The Universal programmer’s star couple, Montez and Jon Hall, became De Carlo and Rod Cameron. It happens. (Well, Montez simply refused to play.). And so, De Carlo won the next Cameron gig that year, as well. River Lady. Final result:   Montez, 0 - De Carlo, 2.
  5. Hedy Lamarr, Samson and Delilah, 1949.  Certainly exotic enough…  Pompous director CB DeMille’s other notions for his Delilah went from such inevitables as Ava Gardner, Rita Hayworth and Lana Turner, to the veteran Larraine Day, Jane Greer, Miriam Hopkins (in 1935), song ’n’ dancer Betty Hutton, Maureen O’Hara, Nancy Olson (too demure), Jean Peters, Ruth Roman, Ann Sheridan, Jean Simmons (too young at 19), Gene Tierney, Italian Alida  Valli pllus two Swedes: Viveca Lindfors and Marta Toren.  Here’s a review signed Groucho Marx: “No picture can hold my interest where the leading man's bust is larger than the leading lady's!"
  6. Maria Casarés, Orphée, France, 1950. It is always a shock to realise that the actor, auteur,  designer (of sets and credit titles), narrator, novelist, painter, playwright and poet Jean Cocteau never wrote Orphée for his longtime lover Jean Marais but for the older Aumont.  And his wife, La Montez, as as The Princess… aka Death.  Finally, jean Marais won the lead (no, really!) while Marlene Dietrich and Greta Garbo both refused to be Death.  Another Maria played the role  and Montez was dead within a year

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