MIROSLAVA

Miroslava Stern left Czechoslovakia native to march to America and arrived to Mexico in 1934. Studied in the United States, but returned to Mexico in the middle of the '40, to initiate her cinematographic career.

For the Mexican cinema, the presence of Miroslava meant a touch of agreed internationalism with the turbulent years of World War II. The groups of originating immigrants who arrived to Mexico from Europe and the Near East integrated to an urban society in the heat of expansion and contributed, of important way, to the cultural life of the country. Nevertheless, the Mexican cinema did not know what to do with Miroslava. Her beauty was very different from the one from the rest of the actresses of her generation and its interpretativ rank, if not limited, at least little taken advantage of. For that reason her filmographie pronounces unequal, with some interesting titles and even a small masterpiece like Ensayo de un crimen (1955), but abundant in smaller films. The contemporary fascination towards Miroslava has taken it to become, a posteriori, in a species of Marilyn Monroe “to the Mexican”.

This phenomenon has like departure point the romantic dawn generated by her suicide, happened to an early age and when her career pretended to be at its better moment. On the other hand, the popularity reached outside Mexico by some Mexican films of the sort of horror has turned to Miroslava a species of actress-fetiche for specialized public. This one is the case of the revived monster (Doctor Crimen) (1953) and La muerte enamorada (1950), two tapes that have acquired estatus “of cult” in recent years. One committed suicide, although they were left murder suspicions, in 1955, after working for Luis Buñuel in Ensayo de un crimen. Her romance with the bullfigther Luis Miguel Dominguín was determining in so tragic decision.