On Tuesday in Madrid occurred two dismissed for one person: first, the Gran Vía, artery of the cultural life of the city, adorned to give the last goodbye to Sara Montiel, Megastar, and minutes later, was buried in a sober way to María Antonia Abad, a woman no less memorable.
The boundless journey life of "Saritísima", as Terenci Moix, nicknamed it required a division that separated the myth, which she fed, person, that few knew.
"I know to leave me when you realize that people start to be tired of the myth", he said in life. But that moment never arrived and remained active until yesterday passed away, despite his 85 years, totally unforeseen way, before a trip to Oviedo for ophthalmologic consultation.
Born in Campo de Criptana, Sara Montiel was universal, but also as Madrid as "La violetera", one of his most remembered films and that was projected in the plaza de Callao to the delight of the hundreds of people who swirled through the funeral procession.
Eleven cars, two of them filled with wreaths, through the capital from the morgue of San Isidro to Gran Via, as if it were a pilgrimage dedicated to the goddess of the couplet.
"Viva Sara!", "Ole, Sara!" or stanzas of some of their most famous songs accompanied on their pain to Thais and Zeus Tous, his two sons adoptive, visibly affected. But admirers meeting spoke amplitude of feathering the Montiel.
On the one hand, residents of his hometown, as Antonio Carreras and his wife Pilar, or women in the Madrid outskirts who lived the premiere of his most famous films. "It has been very dear and I don't mind cold," said Ascension, Móstoles.
For another, young people who claimed it as an icon of modernity more "kitsch" and as a Muse of homosexuals. Thus, Rubén, Aitor and Joan, spoke of the singer of "smoking hope" as "a complete actress" and they indignant was raised to see that the death of Margaret Thatcher has overshadowed him on the front pages of the newspapers.
Even a quick change was teaching a photo of himself characterized as Sara Montiel in his last period, when incurred on self parody and became Queen of the journals of the heart.
Off-pump, excess and Baroque that accompanied the great Sara Montiel, the story in a tone of legend about his relationship with James Dean, Marlon Brando and Gary Cooper (with whom he starred in "Veracruz", Robert Aldrich), intimacy and simplicity seized the Sacramental of San Justo, recalling that under the Sara Montiel robes remained the daughter of peasants manchegaMaría Antonia Abad.
Along with Giancarlo Viola, her former lover, opening between tears the procession to the grave that she herself had commissioned for his mother, just 200 people, many of them from the media, dismissed the star of "The last couplet" and pioneer in the Spanish landing in Hollywood.
A coffin mahogany topped with a Christ and a dozen red carnations approaching everyday life farewell, which was officiated by a priest, who recalled her first as María Antonia Abad to then add that was "best known as Sara Montiel".
"A day came by sea and departed by sea. A kiss was as I remember, he did not ask for more"were the verses of"The mermaid", Ramón Alarcón, which is recited before leaving definitively to the actress and singer together with his sister, Elpidia, and his mother, María Vicenta, on whose gravestone slept she with her mink to mourn his death.
"Two sighs did not bother much, and hala," said Loles León, who along with Boris Izaguirre or producer Enrique Cerezo were some of the familiar faces in this fundamentally Family Act, with their children to the front, as well as the housekeeper, who discovered the lifeless body of Montiel yesterday along with Thais.
After the Ovation, attendees of spontaneously began to sing "La violetera" and throwing carnations at the Tomb. So bid farewell forever got which, without a doubt, its main purpose in life: "I swore I have no master, be free bird and I have completed it," had said.
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