Cantinflas

At 81 years old, Cantinflas has this physical status:

Mario Moreno Reyes, also known as Mario Moreno and professionally as Cantinflas, was a Mexican film actor, producer, and screenwriter who lived in Cantinflas from 19 August 1911 to May 20, 1993.

He is considered to have been Mexico's most popular comedian, and he is renowned throughout Latin America and Spain.

His humor, which is abundant with Mexican linguistic features of intonation, grammar, and syntax, is popular in both Spanish-speaking countries and Spain, and has inspired a variety of words, including cantinflear, cantinflada, cantinflesco, and cantinflero. Although some of his films were translated into English and French, the word games in Mexican Spanish, especially the French ones, were impossible to comprehend.

He often depicted impoverished farmers as a pesant of pelado origins.

Cantinflas' character helped him establish a long and fruitful film career, which included a move to Hollywood.

Charlie Chaplin once said he was the best comedian alive, and Moreno has been dubbed the "Charlie Chaplin of Mexico."

He is best remembered for his role as co-starring David Niven in the Academy Award for Best Picture Film Around the World in 80 Days, for which Moreno received a Golden Globe Award for Best Actor – Motion Picture Musical or Comedy. Moreno, Mexico's pioneer, brought usher in the golden age of cinema.

He went beyond being a company leader to becoming involved in Mexico's tangled and often volatile labour politics.

In addition, his reputation as a spokesperson for the downtrodden in the early fight against charrismo, the one-party government's attempt to co-opting and governing unions, was investigated by media commentators, scholars, and linguists, who saw him variously as a threat to Mexican society, a bourgeois puppet, a verbalizer, and a picaresque underdog.

Early and personal life

Mario Fortino Reyes was born in Santa Mara, Redonda, Mexico City, and he grew up in Tepito's tough neighborhood. He was one of eight children born to Pedro Moreno Esquivel, an impoverished mail carrier, and Mara de la Soledad Reyes Guzar (from Cotija, Michoaca). The others, Pedro, José ("Pepe"), Eduardo, Esperanza, Catalina, Enrique, and Roberto were among the others.

He made it through difficult circumstances with his quick wit and street smarts, which he would later use in his films. His comedic act led him to a circus tent display, and from there to legitimate theatre and film.

Valentina Ivanova Zubareff, a Russian immigrant, was married on October 27 in 1936 and died with her until her death in January 1966. A son was born in Moreno by another woman in 1961; Valentina Ivanova's son was named Mario Arturo Moreno Ivanova, triggering some references to refer to him as "Cantinflas' adopted son." Moreno Ivanova died on May 15, 2017 after suffering from a suspected heart attack.

Moreno was president of Asociación Nacional Actors ("ANDA, "National Association of Actors") and first secretary general of the independent filmworkers' union Sindicato de la Producción Cinematográfica (STPC). Following his retirement, he dedicated his life to helping others through charities and charitable groups, particularly those dedicated to helping children. His contributions to the Roman Catholic Church and orphanages made him a folk hero in Mexico.

He was born at Chilam Balam Lodge and initiated as a Freemason.

Cantinflas met with Vice President Lyndon B. Johnson at shopping centers and supermarkets in San Antonio, Texas, to help the tenacious Democratic nominee to the United States House of Representatives, Henry B. Gonzalez, who defeated Republican nominee John W. Goode in 1961. Gonzalez was the first Hispanic elected to the Texas State Senate and as a Texas congressman.

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Entertainment career

He considered a number of potential careers, including medicine and corporate boxing, before embarking on the entertainment industry as a dancer. He was involved in Mexico City's carpa (travelling tent) tour by 1930, performing in succession with the Ofelia, Sotelo, Azcapotzalco, and later the Valentina carpa, where he met his future spouse. At first he attempted to imitate Al Jolson by smearing his face with black paint, but later discovered himself as an impoverished slum dweller with baggy pants, a belt, and a distinctive mustache. He danced, performed acrobatics, and appeared in a variety of occupations in the tents.

Cantinflas met journalist and director Santiago Reachi in the mid-1930s and subsequently joined him in forming their own film company venture. Reachi produced, edited, and sold, while Cantinflas performed. Before meeting Reachi, Cantinflas made his film debut in 1936 with No te engaes corazón (Don't Fool Yourself Dear). Reachi formed Posa Films in 1939 with two partners: Cantinflas and Fernandez. Reachi made short films that allowed him to develop the Cantinflas character before this, but it wasn't until 1940 that he became a film actor, that is -- "There's the rub" literally means "There is the truth"), that he became a film actor, with Sofa el detalle ("There's the rub"), Sara Garca, Sara Garca, and Dolores Camarillo. The movie's name was a "Cantinflas" (or catchphrasedoutput) for the remainder of his career. The film was a breakthrough in Latin America and was later recognized by Somos magazine as the 10th best film made largely in Mexico.

Moreno first appeared on film in El gendarme desconocido ("The Unknown Police Officer"), a play on "The Unknown Soldier," 1941. He had sufficiently distinguished the pelado from the 1920s-era pelado, and his demeanor changed from the disenfranchised, marginalized, underclassman to the empowered public servant by this time. Cantinflismo's rhetoric aided in this ambiguity. Agent 777 will return to his role as a hero of law enforcement in Latin America, and police forces around Latin America will honor him for his positive portrayal of law enforcement.

Ni sangre, ni arena ("Neither Blood, nor Sand," a play on words from the 1941 bullfighter/gladiator film Blood and Sand, broke box-office records for Mexican-made films in Spanish-speaking countries. Moreno formed a team with Reachi, Miguel M. Delgado, and Jaime Salvador in 1942 to produce a series of parodies, including El Circo, Chaplin's The Circus.

The 1940s and 1950s were Cantinflas' golden age. Reachi, the Producer, refused Mexican Studios in 1941 and instead paid Columbia Pictures to produce the films in its Hollywood Studios. Cantinflas' fame by this time had grown to such acclaim for Mexican labour, as he represented the National Association of Actors in talks with President Manuel vila Camacho. The talks were not successful, however, and Moreno's appearance in the aftermath of the scandal brought his act back to the stage.

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