Antonio cifariello actor biography clint

In the 1950s and 1960s, former screen actress Mamie Van Doren (b. 1931) was, along with Marilyn Monroe and Jayne Mansfield, the personification of glamour and beauty. While Marilyn Monroe and Jayne Mansfield died prematurely in the 1960s—the trio was known as ‘The Three M’s’—Ms. Van Doren’s career had skyrocketed as a leading lady in a number of juvenile delinquent rock ‘n’ roll pictures during the late 1950s.

Now at age 86, the former actress, singer, model and sex symbol who was discovered by Howard Hughes when she was still a teenager, had a nightclub act and appeared on the stage after she was no longer in demand as a film actress. She wrote her autobiography “Playing the Field: My Story” (1987), and maintained her own website and a blog until a few years ago.

This interview was conducted in Los Angeles back in August 2000. As we sat down, she gracefully took the time to talk about Marilyn Monroe, what it was like working in Hollywood during the 1950s and not working there at all from the 1960s, the impact of B movies, and—first things first—how she entered the film business.

Ms. Van Doren, how did your career take off in the late 1940s?

When I was fifteen, turning sixteen, my mom and I went to Palm Springs for a vacation, where we stayed in a little motel. They had a contest there for Miss Palm Springs, and they asked if I wanted to represent the motel. The contest was held at the Chi Chi Club on Palm Canyon Drive—and I won. Howard Hughes was out there in the audience, and later on, I got a call from RKO, the studio he owned, and that was the beginning for me. Jimmy McHugh, who had written a lot of famous songs, became my manager. He sent me to private schools and dramatic schools. At RKO, the roles I played were mostly bit parts, but I was working and getting a salary. I didn’t really have the background of acting, so Jimmy McHugh, who had been managing quite a few ladies, put me through school

With green eyes and a clear forehead, Ángel del Pozo is one of the most characteristic faces of Spanish cinema from the early sixties and mid-seventies, the three decades that comprise his active years as an actor. Although his beginnings in the middle would take place playing roles of gallant in some of the most successful titles of our cinema of those years, the case of Margarita is called my love (1961), or Vuelve San Valentín (1962), the sequel to the famous Valentine's Day (1959), the truth is that his career is most remembered among fans for his work in the then flourishing co-productions, of which he was one of our most active actors. A good example of this is that he ventured into practically all the genres harvested by popular cinema of the time: adventure, war, horror, science fiction, western ...

A baggage that, despite the time that has passed, has been far from being forgotten. Something that, in a way, was staged last October with the tribute that the Almería Western Film Festival dedicated to him in its tenth edition, where he was awarded the honorary prize "Tabernas de cine", which was received in his name for his daughter, the journalist Almudena del Pozo. A precaution due to the current situation caused by the current COVID-19 pandemic, since at eighty-six years of age Ángel del Pozo is still in full force, as shown in the following interview we conducted by telephone, and in which he shows an admirable memory.

[“Savage Pampas”]

In his youth he combined his university studies with his participation in the TEU. How was your interpretive vocation born?

Well, I started in the theater in something called "Hermandades del trabajo" on Juan de Austria street in Madrid, organized by companies that had a patron. I worked in a store with my father and I met people who invited me to go to “Brotherhoods” to try out to play basketball, but I didn't