#Cantiflas

[castillejo2311]

[immediatebreakfast]

But is Cantiflas very Speedy? It's important!

Does this answer the question?

But for me, the speed of the News Correspondent takes a backstep to shine what truly is important in this entry: The WORD PLAY.

The News Correspondent has a very particular way of narrating that captures the audience's eyes as a way to pass the information of the Demeter's arrival to Whitby in both writing, and excitment to know what happened. I think it would the perfect role for an actor that made himself famous for his verbose dialogues that played with everything the spanish language, and mexican habla could offer.

It's the perfect role for Cantinflas to cantinflear a little bit while doing the body comedy he was so famous for, hell on could even put a little scene in where Mina (with her gothic, and melancholic prose) and the News Correspondent (cantinfleando) toss the ball in a high prose like conversation as he tries to get closer to the Demeter!

[mariabeatrizmalta]

Saudade..Cantiflas me fez rir muito na minha infancia!!

[angevepelis]

Movies in chronological order

Chaplin The Kid (1921)

The Passion of Joan of Arc (1928)

Casi casados (1961) https://www.youtube.com/watch?v=x4gBRWcHZxs

Mi Vida Es Una Canción (1963)

El padrecito (1964) (Cantiflas)

What a Way to go (1964)

Mary Poppins (1964)  

The Sound of Music (1965)

The Graduate (1967)

A Clockwork Orange (1971)

Sixteen Candles (1984)

The God Father I (1972)

The God Father II (1974)

The God Father III (1990)

Castle in the Sky (1986)

My Neighbor Totoro (1988)

Pretty Woman (1990)

Silence of the Lambs (1991)

Bethoven (1992)

Aladdin (1992)

Clueless (1995)

KIKA (1997)

My Best Friend’s wedding (1997)

(Couple gets married but alcohol problem she leaves him for another, couch scene where he falls on the floor)

(Have sex in a hotel room dont know each other, shes older than him)

Star Wars: Phantom Menace Episode 1 (1999)

Star Wars: Attack of the Clones Episode 2 (2002)

Star Wars: Revenge of the Sith Episode 3 (2005)

Obi Wan Kenobi

Star Wars: A New Hope Episode 4 (1977)

Star Wars: The Empire Strikes Episode 5 (1980)

Star Wars: Return of the Jedi Episode 6 (1983)

Star Wars: The Force Awakens (2015)

Star Wars: The Last Jedi (2017)

Star Wars: The Rise of Skywalker (2019)

West Side Story (1961)

West Side Story (2021)

Jaws

Before sunrise (1995)

Pocahontas (1995)

Titanic (1997)

Anastasia (1997)

Mulan (1998)

Notting Hill (1999)

Ten Things I Hate About You (1999)

Tarzan (1999)

The Road to El Dorado (2000)

In the mood for love (2000)

Hannibal (2001)

Amelie (2001)

The Princess Diaries (I) (2001)

Uptown girls (2003)

Love actually (2003)

How to loose a guy in 10 days (2003)

Freaky Friday (2003)

School of Rock (2003)

Lost in translation (2003)

Mean Girls (2004)

Eternal Sunshine of the Spotless Mind (2004)

13 going on 30 (2004)

The Princess Diaries 2: Royal Engagement (2004) 

Prince & Me (2004)

The Notebook (2004)

Ice Princess (2005)

Charlotte’s Web (2006)

The Devil Wears Prada (2006)

Bee Movie (2007)

Meet the Robinsons (2007)

Ratatouille (2007)

House bunny (2008)

Mamma Mia! (2008)

My Sister’s Keeper (2009)

500 Days of Summer (2009)

Nowhere Boy (John Lennon) (2009)

It’s Complicated (2009)

Princess and the Frog (2009)

A Christmas Carol (2009)

Avatar (2009)

Despicable Me (2010)

Tangled (2010)

Letters to Juliet (2010)

Dear John (2010)

Blue Valentine (2010)

Charlie St. Cloud (2010)

Valentine’s Day (2010)

Easy A (2010)

Burlesque (2010)

Eat Pray Love (2010)

In Time (2011)

One Day (2011)

The Artist (black and white) (2011)

The Help (2011)

The Smurfs (2011)

Rio (2011)

Les Miserables (2012)

Silver Linings Playbook (2012)

The Perks of Being A Wallflower (2012)

Pitch Perfect (2012)

Sex Tape (2014)

The Fault in Our Stars (2014)

The Giver (2014)

Saving Mr. Banks (2014)  

Whiplash (2014)

Carol (2015)

What Happened, Miss Simone? (2015)

Moana (2016)

La La Land (2016)

Fences (2016)

The Jungle Book (2016)

The Legend of Tarzan (2016)

Mother (2017)

What Happened to Monday? (2017)

Call me by your name (2017)

Freak Show (2017)

The Shape of Water (2017)

TOC TOC (2017)

Wonder (2017) (kid w/ face deformity)   

The Greatest Showman (2017)

Mary and the Witch's Flower (2017)

Christmas Inheritance (2017)

Crazy Rich Asians (2018)

Dry Martina (2018)

Mamma Mia! Here We Go Again (2018)

Mary Poppins Returns (2018)

Bumblebee (2018)

Avengers (2019)

Hustlers (2019)

Someone great (2019)

Solteras (2019)   

Midsommar (2019)

Us (2019)

Marriage Story (2019)

Elisa and Marcela (2019)

Aladdin (2019)

Klaus (2019)

Love and Monsters (2020)

Mulan (2020)

PROM (2020)

Soul (2020)

What would sofia loren do? (2021)

Yes Day (2021)

The Unforgivable (2021)

Don’t Look Up (2021)

The Wonder (2022)

Love in the Villa (2022)

Roald Dahl's Matilda The Musical (2022)

The Little Mermaid (2023)

Avatar The Shape of Water (2022)

Blonde (2022)

Whitney Houston: I Wanna Dance with Somebody (2022)

Scrooge (2022)

Toscana (2022)

Everything everywhere all at once (2022)

Elemental (2023)

Transformers Rise of the Beasts (2023)

The Noel Diary (2023)

No hard feelings (2023)

Super Mario Bros (2023)

La sociedad de la nieve (2023)

[sazoman]

Mario Moreno Cantiflas and miscellaneous studies. - - - - -#mariomoreno #mariomorenocantinflas #cantiflas #mexicancomedian #mariofortinoalfonsomorenoreyes #painting #digitalpainting #photoshop #oilpainting #studies #art #create #createeveryday #mexico #arte #illustracion #cultura #sergiosazopaezaramburo #artofsazo https://www.instagram.com/p/CQxLJxbDkoA/?utm_medium=tumblr

[yeahwhatdidisay]

How can you post this and not include Cantiflas?

Also I don't think this is a shot from 'Some Like it Hot' but rather a shot on the set of the movie 'Pepe' (1960).

Both of these men were absolutely amazing actors and their lives were just as interesting.

So yes this is an image of great actors, Cantiflas and Jack Lemmon.

Jack Lemmon in drag on the set of ‘Some Like it Hot’, 1959. Photo by Phil Stern.

[freakshow33]

#crazyhairday #sittingonthetoilet #iwokeuplikethis #cantiflas https://www.instagram.com/p/Bt_qWGmg8ifEVZzkR_d9G-cYpJb_g91RkJaYm00/?utm_source=ig_tumblr_share&igshid=fw2sw92un6e3

[lascenizas]

The Last Movie I Watched…

Around the World in Eighty Days (1956, Dir: Michael Anderson)

[viktorsaintclaire]

“Omg Javiers mustache is so weird XD!!!” Just say you hate indigenous Mexicans and go

[barberfink]

Teaching my kids the joys of Mexican puppets from market square #sanantonio #mexico #marketsquare #cantiflas #imyourpuppet

[snuffles-groovy-doghouse]

Los dos, soy Mexicana, pero también me importa que saben que es Septiembre 16 y no el Cinco de Mayo:D.

I am Mexican, which means I've got strong feels when people think that Cinco de Mayo is Mexican Independence Day. So when someone mentions the actual Independence Day I am just delighted by life.

[april-is]

April 21, 2020: Teaching English from an Old Composition Book, Gary Soto

Teaching English from an Old Composition Book Gary Soto My chalk is no longer than a chip of fingernail, Chip by which I must explain this Monday Night the verbs “to get;” “to wear,” “to cut.” I’m not given much, these tired students, Knuckle-wrapped from work as roofers, Sour from scrubbing toilets and pedestal sinks. I’m given this room with five windows, A coffee machine, a piano with busted strings, The music of how we feel as the sun falls, Exhausted from keeping up.                                       I stand at The blackboard. The chalk is worn to a hangnail, Nearly gone, the dust of some educational bone. By and by I’m Cantiflas, the comic Busybody in front. I say, “I get the coffee.” I pick up a coffee cup and sip. I click my heels and say, “I wear my shoes.” I bring an invisible fork to my mouth And say, “I eat the chicken.” Suddenly the class is alive— Each one putting on hats and shoes, Drinking sodas and beers, cutting flowers And steaks—a pantomime of sumptuous living.

At break I pass out cookies. Augustine, the Guatemalan, asks in Spanish, “Teacher, what is ‘tally-ho’?” I look at the word in the composition book. I raise my face to the bare bulb for a blind answer. I stutter, then say, “Es como adelante.” Augustine smiles, then nudges a friend In the next desk, now smarter by one word. After the cookies are eaten, We move ahead to prepositions— “Under,” “over,” and “between,” Useful words when la migra opens the doors Of their idling vans. At ten to nine, I’m tired of acting, And they’re tired of their roles. When class ends, I clap my hands of chalk dust, And two students applaud, thinking it’s a new verb. I tell them adelante, And they pick up their old books. They smile and, in return, cry, “Tally-ho.” As they head for the door.

==

More like this: A Schoolroom in Haiti, Kenneth Koch Also by Gary Soto: Late Confession

On this day in: 2019: Easter, Jill Alexander Essbaum 2018: Annunciation, Marie Howe  2017: The Promise, Marie Howe  2016: In the Woods, Kathryn Simmonds 2015: Heat, Jane Hirshfield 2014: What Remains, Ellery Akers 2013: 30th Birthday, Alice Notley 2012: Untitled [I closed the book and changed my life], Bruce Smith 2011: The Forties, Franz Wright 2010: Prayer of the Backhanded, Jericho Brown 2009: A Primer, Bob Hicok 2008: Because You Asked about the Line between Prose and Poetry, Howard Nemerov 2007: Open Letter to the Muse, Kristy Bowen 2006: A Sad Child, Margaret Atwood 2005: The Crunch, Charles Bukowski

[azureodeigrid-blog]

Cantiflas, Mario Fortino Alfonso Moreno Reyes, in El portero, 1950.

José Edith González, one of the last scriveners of CDMX’s Plaza Santo Domingo, 2014

Subcomandante Marcos somewhere in Chiapas, circa 1995.

[sazoman]

WIP Cantiflas and la India Maria, future animation/t shirt. #cantiflas #indiamaria #pachucos #gangster #cali #sazomansazoman #cholo #chola #malandrin #controlandoymatando

[kaikamahine]

👀

YOU.

You are such a kind, supportive person and the absolute BEST cheerleader your mutuals could ask for *__* I hope good things happen to you all 2020!!

This is from the AU where Imelda and Héctor rise to meteoric fame right alongside Ernesto, because, like, imagine Imelda as a film star during the Golden Age. Like? /fans self

Once, a long time ago, he saw a photograph of Emiliano Zapata’s wife immediately after his assassination, while they were still parading his corpse around Cuaulta.

She’d been sent away, the señora had, when the war started turning. But they found her anyway, and here she was, stepping out under the mantle of her home, her hand turning the head of her four-year-old daughter into her skirts. She looked straight into the camera, right through you; an expression so hard, so cold you could see it flint.

It’s the first thing Zacarías thinks of, when Huerta shows Imelda Rivera through the door.

God. What a hard-eyed woman.

He rises. They shake hands. They sit down. She crosses her ankles, tucks her skirts under the chair. She does not smile.

Zacarías looks sidelong. His brother, casually unstudied in his chair with the buttons straining over the rise of a growing paunch, merely lifts his eyebrows back.

“Señorita —“ he starts.

“Señora,” she corrects immediately. “My husband waits outside.”

“Ah, yes. They always start with one,” his brother murmurs to his folded hands, and Zacarías cuts him a warning look. The woman, somehow, grows even more reptilian; expression stilling, cold-blooded.

“Señora,” he says willingly.

The script sits on his desk in front of him. Usually, the process of picking a cast follows the same formula: where are you from? How long have you been in the city? What’s your background in acting? All questions he feels like he should be asking, as an employer interviewing a potential job candidate. He and his brother had only opened this studio two years ago — it’s still a process.

But Zacarías has what his brother calls an instinct, and he takes one more look at that unscalable armor and finds those questions falling away, as unimportant as dead leaves.

He leans forward.

“What makes you think you could be my leading lady, señora?” he asks, low, and her eyes spark.

Without missing a beat, she replies, “Why did you come back to Mexico?”

The legs of his brother’s chair hit the floor with a thunk. Zacarías nearly smiles.

“Have you heard of Juventino Rosas?”

Her attention sharpens.

“A fiddler,” she says, watching him tap the end of his pen against his notepad. Then, with a note of irony that Zacarías doesn’t miss, she corrects herself, “A composer. Tejano, Mexican polka. He died young, didn’t he?”

“Twenty-four,” he answers. “Did you know they play his music overseas?”

She does something impressive with only one eyebrow.

“They played his waltz once,” Zacarías continues, “at a party at the consulate I attended shortly after I married. I remember being thrilled. ‘This is Mexican,’ I said to my peers. ‘A Mexican made this music!’ And they said, ‘that’s impossible. This is too good to be Mexican.’”

The other eyebrow joins the first.

“So,” he spreads his hands. “I came home. I opened this studio. I intend to make movies. I don’t want to just copy what we get from the European theaters, like other studios do, just as —“ a singer, Huerta had said. “— just as I’m sure you don’t want to work for a knock-off Cuban dance hall,” and can tell by the minute stiffening in her face that he’s hit true. “I want to show everyone that Mexicans can make anything, and make it better. Mostly, I want Mexicans to know they can make anything, and make it better.”

“So will you make a film about him, then?” she presses. “Juventino Rosas?”

“The script is ready already,” Zacarías says instantly. “But first, they need to find out how to record sound with picture, so we can have movies that talk — and, more importantly, sing. His name should not be forgotten. It should not be erased. Don’t you think?”

He’s leaning forward still, hands outspread, watching her watch him, and realizes all at once that she’s reversed their positions. As if she is the one interviewing him. As if she’s drawing up her own cast, giving him his role.

And though he doesn’t know it yet, this will be the running theme of Zacarías’s life.

This chair. The young person sitting across from him, all their handcrafted armor locked in place to protect them and their own hope.

He will see María Felix in this chair, and Pedro Infante, and Cantiflas, and he will see in them what Mexico needs to see.

“I think,” says Imelda Rivera, slowly. “That would be a marvelous thing to leave on his ofrenda.”

And then she does something stunning.

She smiles.