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Amparo Muñoz long interested me, especially since he entered the thirty-, sometimes to fascinate me, because I think that was true which was officially recognized at the time , which was one of the most beautiful women on the planet, even though she herself would be responsible to renounce that crown, the only so far he has done.
But I will not philosophize about life and death, but to pay tribute.

((I would have liked to spend before an entry, but I encountered what usually happens with many and many English artists: there is little material on the net, they forget, are undervalued, no one knows, no one answers, what is remembered are merely topical, but in the blogging world I found a lot of complicity, of course. For my part I realized that if I respect both our despised star system, is what I love in sum is the whole country, all of us. But I'm not true for any breed, to the politicians, for example, I feel no special attachment.))

Amparo Muñoz was beautiful of women Transition in an era when female bloom everywhere stunning, the apotheosis of the unveiling for machirulos . His film career was meteoric .. with titles high-profile at the time, I remember Toccata and Fugue Lolita (Antonio Drove, 1974), Clara is the price (Vicente Aranda, 1975) or to me mythic The other bedroom (Eloy de la Iglesia, 1976 ), where he met his future husband first and ephemeral, Patxi Andión.

Then came another wave of erotic titles in Mexico, look at me with eyes pornographic (Luis María Delgado, 1980) with ultra-guapazo Andres Garcia, the return to the national arena and a certain grandeur with promoted mate queen (Fermín Cabal, 1985) with Antonio Resines; In penumbra (José Luis Lozano, 1987) with the then-say-love Toni and Miguel Bosé sang or Guests (Victor Barrera, 1987), based on the crime of the Galindos and Lola Flores, it was rumored that Amparo had an affair with his son Antonio, and many other titles in his long and diverse career, which also worked for intellectual cutting filmmakers such as Carlos Saura, JA Nieves Conde or Jaime Chavarri. ALSO

, ACTRESS
I liked reading the Ripley's Blog Amparo Muñoz made excellent performances. I think so too, and if it is true that at times in its first and second stage can not be said she was particularly expressive, perhaps his temperament, I do not know if early skeptic, or the mood of sadness: the princess is sad, what the princess? - all that stillness, that no histrionics of the actress was transformed into strength that comes from within, which nests and in their eyes, the look, the attitude.

And who gave us that first and awakening artistic Amparo Muñoz was Fernando Leon de Aranoa, who had the wisdom to save her for her first film, Family (1997). I think she is excited so much, wanted to cling to this new opportunity and indeed there were new jobs, including Elles by Luis Galvao Teles, also in 1997, a film that I did not know and one of its scenes also can see in Ripley's Blog: say so much by not saying that all pain, indifference, self-defense that transmit the eyes of a woman living , that kind of feelings caused Romy Schneider in the opening scene of important thing is love, and do not say that Amparo got what Romy, although I have no doubt that it could have reached, to have had in this final stage with greater continuity and support.

UNDER THE COVERS FOUR MUÑOZ EN `new frame '
(The beloved magazine, real thermometer of popularity at the time)