It was the undisputed face of the romantic comedy of the 50s and 60s, many times, as in "Pajamas for two", accompanied by the perfect lover, Rock Hudson. Colorful, spicy "ma non troppo" movies, based on the eternal war of the sexes, with their good supply of gleaming cars, puffed suits and white phones from which to make an appointment.
The muse of that innocent cinema, with the vocation of a large audience, has just passed away at the age of 97: Doris Day. The foundation that bears his name confirmed this morning his death in Carmel Valley, California, surrounded by his friends and family. "He had enjoyed excellent physical health for his age, until recently he contracted a severe case of pneumonia, which resulted in his death," the foundation said in a statement.
In an interview of his algid period, he portrayed what his figure in the American "star system" supposed: "I have become a new kind of 'sex symbol', the woman men would want to sleep with, but not before marrying her. Sexy, but pure. Something I took care of in these films was to avoid vulgarity, which really disgusts me. I liked these scripts about the man-woman game while they were done with style, wit and imagination. In my vocabulary, vulgarity begins when the imagination succumbs to the explicit. "
However, she herself came to regret that reputation for pacata, a perfect wife, which was opposed to the excessive sensuality of Marilyn Monroe. "I have the unfortunate reputation of being the Virgin of America and all that, so I'm afraid some people will be surprised what I'm going to say, but I firmly believe that there are not two people who should marry until they've lived together before," wrote later.
Films like "Confidences at midnight", "Smooth as the mink" and "Love me or leave me" were released to all cinemas in the country and the world as an example of normative sophistication. The couple in the fiction that formed with Rock Hudson fixed the archetype of both in Hollywood. In real life he was married 4 times and had a son, who died in 2004.
In addition to the cinema, he worked abundantly in music. And he often made both compatible, as in the case of "The man who knew too much" (Hitchcock, 1956), where he sang the famous "Que será, será".
(tagsToTranslate) gonzalo núñez