Films with Juan Orol Rosa Carmina began her artistic career in the Mexican Cinema starring the film
A Woman from East (1946), directed by Juan Orol. Rosa had signed a contract to film two more films with Orol. Her second project was
Tania, the Beautiful Wild Girl (1947). Her third film made with Orol was ''
Gangster's Kingdom (1947). Both this film and its sequel, Gangsters Versus Cowboys (1948), are now considered cult films in the Gangster film genre, and have an important place in several film libraries around the world. In both films Rosa Carmina plays the femme fatale, the object of the conflict between the male characters in the story, a situation that contributes to elevate to star as one of the most representative sex symbols of the Mexican cinema of the time. In some Orol films the actress played herself. To close the 1940s, Rosa Carmina filmed two more films with Orol: Wild Love (1949) (controversial film based on a story by José G. Cruz, who spoke about a love conflict between a young man and his own uncle) and Cabaret Shangai'' (1950). Rosa Carmina success in film increases due to her versatility, she soon proved to be a complete
vedette, because she not only showed talent for dancing but also singing and acting. In 1951, Rosa Carmina films the trilogy
Percal, which consisted of three films: ''The Poor's Hell
, Women Perdition
and Men without Soul''. This trilogy was based on a popular original comic of José G. Cruz. The success of the comic magazine in the audience was overcome by the film version. Despite being virtually exclusive star of Orol films and his production company (España Sono Films), he gave her the opportunity to film with other producers. After her filmic collaborations with Producciones Rosas Priego and CLASA Films Mundiales, Rosa Carmina rejoined the Orol film team with
The Goddess of Tahiti (1953). In 1954, Juan Orol produced and directed in Cuba
Sandra, the Woman of Fire (1954). The movie was one of the most important and memorable blockbusters films by Rosa Carmina and Orol. Rosa Carmina continued her filmic collaborations next to Juan Orol in three more films:
Crime Syndicate (1954),
Under the Fear Influence (1955) and
Dangerous Secretary (1955). In total, between 1946 and 1955, the legendary Orol directed her in sixteen films. Despite the peculiar style of cinema Juan Orol, these films help to enrich the myth of Rosa Carmina and gave her the undisputed title of
Queen of the Gangsters of the Mexican
Film noir.
Films with other filmmakers In 1950, Rosa shot with the production company Producciones Rosas Priego. At this studio, Rosa Carmina had the opportunity to make dramatic films with very different plots: she filmed movies like
Treacherous (1950), with
Fernando fernández;
In the Flesh (1951), with Rubén Rojo;
Ladies Specialist (1952), with
Rafael Baledón;
Voyager (1952), again with Fernandez, and
The Second Woman (1954), with
Antonio Aguilar, among others. Rosa Carmina was also originally considered to star in the film
un extraño en la escalera, directed by the filmmaker
Tulio Demicheli, next to
Arturo de Córdova. However, Rosa rejected the project to join a new film project with Orol. She was then replaced by
Silvia Pinal. In the mid 1950s, the Rumberas film experienced a decline. Like other exponents of the genre, Rosa Carmina made fewer productions in this genre. In 1956 she filmed the Spanish-Mexican co-production
Love Me with Music (1956), directed by
Ignacio Iquino. The film was a great success in the Spanish market, making Carmina one of the few Mexican stars to achieve success in Spain. From this point on, Rosa Carmina performed musical numbers only sporadically in her films. In 1956, Rosa Carmina received an offer to make a film in France with actress
Viviane Romance, but because the movie would contain lesbian scenes, Juan Orol recommended that she reject the project. In 1959 she starring the film
My Private Secretaries, with the American-Cuban actor
Cesar Romero. In the late 1950s and during the 1960s, Rosa Carmina ventured into other film genres. Carmina's career stands out because of her versatility in working in different genres while keeping the same success with the public. Few actresses in the Mexican cinema were able to do this. She was part of the era of the
Luchador films for her involvement in films like
The Last Fight (1959) and
The White Shadow (1964). She also ventured into the
fantasy and
horror film genres in films like
The Cobra Mystery (1959),
Infernal Face (1963) and
Macabre Footprint (1963). In 1974, Rosa Carmina met for the last time with Juan Orol in the film
México by Night, where they made their last appearance
Sandra and the serie of characters created by Orol to his classic films. In 1975, Rosa appeared in the film
Beauties by Night, which introduced the
Mexican sex comedy that flourished between the 1970s and 1980s in the Mexican Cinema. In 1976, the Peruvian Nobel Prize winner
Mario Vargas Llosa directed her in
Captain Pantoja and the Special Services, based on his
novel of the same name. Rosa was considered for the role of Chuchupe. Mario Vargas Llosa himself claimed to have inspired her for the character in the novel. However, they realized that Rosa was too physically attractive to play an obese and decadent woman. The character was then performed by
Katy Jurado, although a special character was created so that they could keep Rosa Carmina in the cast:
La Cubana. The film was produced by
Paramount Pictures and made in the
Dominican Republic. In 1981, Rosa appeared in the
Arturo Ripstein film
Rastro de muerte. Her last film was
Teatro Follies, a musical film made for television in 1983, in which she shared credit with
María Victoria and
Tongolele. In 1992, Rosa was considered for a role in the film
The Years of Greta. However, her physical attractiveness was again an impediment to the realization of the character she was intended to play, so she was replaced by the Mexican actress and rumbera
Meche Barba.
Stage performances Carmina also performed in arenas, stadiums, cabaret, public theaters and nightclubs around Central and South America, which achieved significant success in an era when the television was not yet considered a mass medium. Her foray into the theater in Mexico occurred shortly after her arrival to the country and after the success of the film
Tania, la bella salvaje. Juan Orol organized a tour throughout the country for Rosa Carmina, where he presented her live to the public. Eventually, Rosa entered in a musical revue presented at the in Mexico City, where she shared scenes with figures like
Libertad Lamarque, Rosita Fornés and
Los Panchos. In her live music shows, Rosa Carmina was not limited to the interpretation of Caribbean dances, as dhe experimented with other music genres like
rock and roll. To develop these new rhythms, she had the support of the Dominican choreographer
Julio Solano, Broadway dancer and former member of the
Katherine Dunham Company. In 1976 she starred in a successful music season in the Blanquita Theater of Mexico City, alongside the comedian
Adalberto Martínez and the Cuban rumbera
Amalia Aguilar. In the early 1990s, Rosa Carmina starred in a show called
Rumba, poetry and song, which wove the songs of her films with Cuban poetry and dance. One thousand performances were held at the Teatro Esperanza Iris of Mexico City, coinciding with the 45th anniversary of Rosa Carmina's career, under the sponsorship of the National Council for Culture and the Arts, the Secretariat of Public Education and Leon Alazraki Riverón.
Television Rosa Carmina has had a very selective presence on Mexican television. She was one of the first figures to present a musical show on Mexican television. At the end of her film career, Rosa made her debut in the Mexican
telenovelas in 1984, in the telenovela
La pasión de Isabela (1984). Probably her most memorable works in this medium are the telenovelas
Juana Iris (1985) and
Muchachita (1986), where she played special characters written especially for her by the writer Ricardo Renteria. In 1992 she participated in the telenovela
Maria Mercedes (1992), the first of the successful television soap opera trilogy known as the
Trilogy of the Marias, starring the singer
Thalía. She played a minor character and got her role due to her friendship with the soap opera's writer Carlos Romero. This is, to date, her last professional work as an actress. Rosa Carmina was initially considered to be part of the cast of the telenovela
Marimar. However, Carmina rejected the project and was replaced by
Ana Luisa Peluffo. ==Personal life==