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00:00Hi, I'm Amy Brown, I'm from the United States, I live in Texas.
00:26I created the website soledadmiranda.com and I'm generally the world recognized expert
00:32on Soledad Miranda.
00:34Of course it's my dream project to help people learn more about Soledad Miranda as she is
00:45my passion in life and it seems to be my calling to help people find out more about her because
00:54that was what she wanted, she wanted to be known more around the world.
01:24Amy, how would you like to be portrayed in this film?
01:37As someone who loves Soledad and wants to keep her memory alive.
02:07Why did you cry when you say that?
02:17Because it's so sad.
02:23Her story is just so sad.
02:32It was just such a tragedy.
03:02I will tell your story and I will do your justice and you will no longer be a mystery
03:22to the world.
03:52I will tell your story and I will do your justice and you will no longer be a mystery
04:02to the world.
04:22I will tell your story and I will do your justice and you will no longer be a mystery
04:32to the world.
04:34I will tell your story and I will do your justice and you will no longer be a mystery
04:44to the world.
04:46I am Carlos Aguilar, a film historian and novelist.
04:56I have published, I don't know, frankly, I don't remember, I don't know if it's 60 or 70 books
05:02and for me it's a real pleasure to be here talking about Soledad Miranda, who was a very important actress,
05:10I will say it softly, very important in my cinephile training.
05:16Maybe you caused the accident to see if you had a plan.
05:22Well, not with me, I'm already older.
05:26How funny, maybe they went for a walk and arrived here at the same time as us.
05:30It seems like a combination.
05:40Did you reserve a table at the nightclub?
05:44Darling, of course I did, at the taboo.
05:48Just in time to catch the show.
05:50I hear it's the best in Paris these days.
05:52Does that suit you?
05:54Suits me fine.
05:56Hand me the towel, will you?
05:58Soledad Miranda was a Spanish actress, more specifically Andalusian and more specifically Sevillian,
06:06who, after winning a certain celebrity in our cinema, paradoxically achieved a cult status
06:12starring in films that were not planned for Spain.
06:36Soledad Miranda has the status of a cult actress.
06:38What is a cult actress?
06:40Well, an actress especially adored by a series of people and virtually unknown to others.
06:48When Soledad Miranda died, an actress who, by all concepts, has been unique in Spanish cinema died.
06:56I find the case of Amy Brown amazing, sensational.
07:00I met this case, I don't know, five, six, seven years ago.
07:06That is, long after she started specializing in Soledad Miranda.
07:12So I find it really admirable, very, very special.
07:30because back then she was only famous for her Jess Franco movies,
07:34but when I started discovering all her other fine comedies and dramas,
07:38I decided to rename the site from Blood Queen to Sublime Soledad,
07:44which I thought was more appropriate.
07:46I have a section of biography, a very long biography about Soledad.
07:54I have an archive section where I have hundreds of magazine articles about her,
08:00interviews, which are all in Spanish and I've also translated to English.
08:06And then I have the photos section, which I have probably thousands of photos of her,
08:14mostly from her movies.
08:16I traveled to Spain because I'm writing a book about her, the first biography.
08:21I need to look at locations where she lived, interview people who knew her,
08:27and can give me facts about her life.
08:30I think the first tribute to Soledad in Seville was Calle Soledad Miranda.
08:37So this will be the second tribute to Soledad in her hometown.
08:41It's going to be a celebration of her work and of her life,
08:44and we'll have Jack Taylor, who worked with her,
08:50is someone who had wonderful things to say about her,
08:53and music performances to celebrate, just a very festive mood.
09:02And maybe I'll say something or perform.
09:06Who knows?
09:07It's just going to be something special to remember Soledad.
09:17So one of my main hobbies, other than working on the Soledad Miranda research
09:22and writing my book about her, is playing the piano.
09:25I wanted to play one of my favorite soundtracks,
09:28which is Bram Stoker's Dracula by Wojciech Kilar.
09:32It's the version that Gary Oldman played Dracula.
09:35I'm going to play for you.
09:37This is what my own notation looks like.
09:39I've written it in my own handwriting because I wrote it with pictures of the movie
09:43and things like that.
09:45♪
10:11I'm looking for three women.
10:13Soledad Rendon, Soledad Miranda, and Suzanne Korda.
10:17I've been looking for her for almost 15 years,
10:21and it takes a lot of time, a lot of patience, a lot of research,
10:26because she's a mystery, and no one seems to know exactly everything about her.
10:34It's hard to find out about someone who died so long ago,
10:37but when you start finding one thing out about her,
10:41it's like you open one door and there's a whole lot more that you have to pursue.
10:47It's like a rabbit hole that you have to go down,
10:50and one mystery you think you start to solve it, and it just starts other mysteries.
10:57Well, Soledad Rendon was a little girl who grew up here in Sevilla.
11:02Soledad Miranda was a young woman who went to Madrid to become an actress,
11:08and Suzanne Korda was the woman she became when she started working with Jess Franco
11:13and is the woman who is now famous around the world.
11:16If I had to choose one Soledad to pick up and solve the mystery,
11:21it would be Soledad Rendon, because the least is known about her.
11:25That's the part that I can't find out from my research.
11:29There are no interviews of Soledad Rendon, the little girl of her life in Sevilla.
11:34Soledad was born, and then there was a girl who was born very pretty,
11:40a girl who was very pretty, a girl that you could see,
11:44and she wasn't from that time, just like my mother wasn't from that time either.
11:48My mother was from that time, and my sister is even more advanced.
11:54In a normal family, except that my mother had those concerns with the artistry,
12:00and that each of us brought out something.
12:03My mother was a person who read a lot and had a lot of culture,
12:07without going to school or anything.
12:09She brought it from this.
12:11And then she, well, what happened?
12:14She started sewing, and from sewing she went to the theater to see which company was coming,
12:20and the other, and once, when she decided that she was going to get into a company,
12:27well, it turns out that in those times there were no clothes, no suits, nothing.
12:32She started to make a skirt and a jacket and something,
12:36and she didn't have time because it was the last night of that company,
12:42so she couldn't get involved.
12:44What happens? She gets married,
12:46and those desires that she had, that she had,
12:50well, the first one that came was Soledad.
12:55Hello, I'm Pilar Vargas.
12:57I've been a classmate of Soledad Miranda.
13:01I remember that she was a very formal girl,
13:04a very formal girl, very pretty,
13:07because, look, she had a face,
13:09it was like a little medal,
13:11not to say how pretty, how pretty,
13:13no, it was how pretty she was,
13:15what a beautiful face,
13:16like a little thing like that, angelic.
13:19And I remember that very well,
13:22because we both went to what we liked,
13:24because I adored her,
13:25well, right now I'm talking about her,
13:27and I'm really excited to talk about her.
13:35What she liked was dancing.
13:37She went to Maestro Pinto to dance,
13:39and she was working in the courtyard,
13:42and she was a dancer,
13:45we were dancing, we were doing it,
13:47in Gala Juvenil and that,
13:48it was more, ballet, dancer.
13:51She wanted to be in the cinema
13:54because she wanted to be famous,
13:56and everything she did, she did well,
14:01and then she was a doll.
14:04I want to see her homeland,
14:06I want to see the art,
14:08and feel the music, the flamenco,
14:11I love flamenco,
14:12I'm very much looking forward to the trip,
14:15and I'm nervous,
14:17just in terms of everything going as planned.
14:21I'm also nervous about meeting her family,
14:26and how they'll react to me,
14:27because I know they're a little bit guarded about her,
14:31understandably so,
14:33because they want to protect her memory,
14:36but at the same time,
14:38it was always her dream to be very famous,
14:41so that's what I'm trying to do,
14:43I'm trying to help her be more famous.
14:50Remembering that a creature,
14:53that apart from her beauty,
14:55had a particular attraction,
15:00or interest for the camera,
15:02no doubt about it.
15:03It was a personality,
15:05apart from her gifts as an actress.
15:07What I remember of that shooting,
15:09I think it was a happy shooting,
15:11many of my colleagues are no longer there,
15:14some of them are a bit sad,
15:17but in my memory,
15:19what I remember is a very pleasant memory,
15:23of being for a few weeks,
15:26the boyfriend of a creature,
15:28so charming, so nice,
15:30and such a good person,
15:32like Soledad.
15:34Poor Julito, with how good a girl she is.
15:36Come on, I've broken a plate.
15:38Not like you.
15:39Me more than her,
15:40but I haven't made so much noise.
15:44Soledad Miranda starts making films
15:47through a typology that she will maintain,
15:50more or less,
15:52throughout the decade,
15:53the 60s,
15:55which is that of a fragile, shy heroine,
15:58and above all, very pretty,
16:00with a few hairstyles,
16:02a bit in accordance with the aesthetics
16:04that existed then in Spanish cinema,
16:06for this kind of characters.
16:08Aesthetics that, from time to time,
16:10doesn't break, but does alter,
16:12I mean, depending on the genre of the film.
16:15It's, let's say, sweeter,
16:17more refined, more cute,
16:18in comic cinema,
16:20and it's a bit more aggressive,
16:22a bit more sensual,
16:23in the films she makes of the West, for example.
16:27That's the decent thing,
16:28because there's each one...
16:30My dream was to be a hairdresser,
16:32so she took it,
16:33and I told her,
16:34look, I want to be a hairdresser,
16:36but Mom doesn't have the money
16:38to pay me for this.
16:39She said, don't worry,
16:40I'll take it and send it to you.
16:42So she took it,
16:43she sent me the money,
16:45and I was able to go to the Academy.
16:47You know?
16:48Because I was still an apprentice,
16:49like all the girls,
16:50wishing for an opportunity.
16:52And then she took it
16:53and gave me that opportunity.
16:59Have you noticed?
17:01At that time,
17:03I remember her perfectly,
17:05she was a very spontaneous actress,
17:07very authentic, beautiful,
17:09and above all, very distinguished.
17:11She was a girl with a lot of class.
17:14I did with her
17:17Currito de la Cruz,
17:19wonderfully interpreted.
17:22There, I think it was
17:26that this girl had
17:31because it was a sublime interpretation.
17:35Paco Raval, I remember,
17:37I was very in love with her.
17:40And almost all of them,
17:42for their sympathy
17:43and above all, their great beauty.
17:49Not here, Angel,
17:50if my father sees you.
17:51What?
17:52I have promised him.
17:54Here, in Holy Week,
17:56they are wishing for Holy Week
17:57so that they can put Currito de la Cruz.
17:59Every year we see Currito de la Cruz.
18:00Every year.
18:01That the sun comes out.
18:02I say, I say, it's true.
18:03Paco Raval is no longer there,
18:04everyone who comes out behind.
18:06Seeing her,
18:07I've seen her this year, huh?
18:09I've seen her, yes.
18:10Because my husband hasn't seen her.
18:11I say, come here,
18:12we're going to see this year.
18:14He likes Spanish movies.
18:15He's going to finish,
18:16and this year we're going to see the sun together.
18:18Man, Paco Raval,
18:19he was very proud, right?
18:20Yes.
18:21I had a lot of fun
18:22The harassment,
18:23the harassment,
18:24I want to tell you,
18:25with respect,
18:27that Paco had towards her,
18:30and Soledad didn't pay any attention to her.
18:33That's true.
18:35But he didn't pay any attention
18:36to either of us,
18:37and look at me,
18:38I'm handsome, huh?
18:42Boyfriend,
18:43they said,
18:44the Cordoban,
18:45because the Cordoban
18:46needed to tower and fame,
18:48and she needed an actress,
18:50well, then,
18:51they left that game
18:52between the press.
18:54You know?
18:55Those things like that,
18:56but of the boyfriend
18:57and other things,
18:58no.
18:59Rafael?
19:00Rafael too,
19:01Rafael too,
19:02he made a movie,
19:03a song,
19:04I don't know what,
19:05of my boat,
19:06and he was taking pictures
19:08and things with her,
19:09and that,
19:10that the press is looking for him.
19:12And in fact,
19:13I also think
19:14we have her around.
19:15Also,
19:16a very nice boy,
19:17he sang very well,
19:19and of course,
19:20among the group,
19:21it's like a group of poets,
19:23all the poets get together,
19:25among the artists,
19:26all the artists,
19:27among...
19:28We had a lot of suitors,
19:30but we didn't realize it.
19:32We didn't,
19:33because they told us,
19:34the boyfriends take away
19:35the artists,
19:36the boyfriends take away,
19:37and we didn't want
19:38any boyfriends.
19:49If you have a chance
19:50to talk a little
19:51with your father,
19:52tell him I'm inviting you
19:53home for a drink,
19:54a cocktail.
19:55He's a fascinating writer,
19:56and I'd like to get to know
19:57him a little better.
19:58The point of inflexion,
19:59total,
20:00absolute,
20:01and definitive,
20:02in the professional life,
20:03and in a certain way,
20:04almost personal,
20:05of Soledad Miranda,
20:06strives for Jesus Franco,
20:07a Madrilenian filmmaker,
20:08a troubadour,
20:09unpredictable,
20:10crazy,
20:11and very personal,
20:12very special,
20:13and he's the one
20:14who decides to completely
20:15change the image
20:16of the film.
20:17The image,
20:18not only in terms of the look,
20:19let's say,
20:20the hairstyle,
20:21the make-up,
20:22etc.,
20:23but above all,
20:24the type of films
20:25she's going to make.
20:48Everybody.
20:51And the work was
20:52very simple with her
20:53because she was
20:54a very uncultivated girl,
20:59but with such a facility,
21:03you know,
21:04to understand
21:05and to feel things,
21:08that the result
21:09was very good immediately.
21:18the ideal embodiment
21:19of the ideas they have
21:21with respect to the female
21:23protagonists.
21:25Bergman with Lee Pullman,
21:27Antonioni with Monica Vitti,
21:29Josef von Stemberg
21:31with Marlene Dietrich.
21:33So this was also found
21:34by Jesus Franco
21:35in Soledad Miranda.
21:37The concept he had
21:39for the female characters
21:41never found a better embodiment
21:44on the screen
21:46I discovered that
21:48the vampire films
21:49were a good element
21:52for Soledad Miranda
21:56because she was pretty,
21:58she had fantastic eyes
22:02and a big personality,
22:06and so without a problem
22:08we decided to make
22:09one or two or three
22:11or ten films with her.
22:14Then the series
22:15was interrupted
22:16when she died.
22:18The transformation
22:19that Soledad Miranda experiences
22:21based on the ideas
22:22of Jesus Franco
22:24can be summarized
22:25in the name change.
22:27Soledad Miranda
22:28becomes Susan Corda.
22:30On the one hand,
22:31Soledad Miranda
22:32has an image,
22:33on the other,
22:34Susan Corda
22:35has a completely
22:36different image,
22:37and there is a very interesting
22:38bridge between both images
22:40due also to Jesus Franco,
22:42who is Count Dracula.
22:44In Count Dracula,
22:45Soledad Miranda
22:47does,
22:48as in almost all
22:49her previous films,
22:50the fragile, shy,
22:52scared, sweet heroine, etc.,
22:54but with a change
22:56in the expression,
22:58in the sensuality,
22:59in the wardrobe,
23:00in the way of walking,
23:01in the way of interacting
23:03that absolutely announces
23:05that she is going to be
23:06Susan Corda.
23:42And she says,
23:43I've seen a wig,
23:44one of these,
23:45and your sister comes out
23:47half naked.
23:50Why did she say that word?
23:51Your mother was going to hit you,
23:52wasn't she?
23:53My mother came in
23:54to the hairdresser,
23:55I say,
23:56this woman is very bad,
23:57a beast, isn't she?
23:58Look,
23:59she washes her head
24:01and that's it,
24:02out of here,
24:03out of here.
24:04Did your cousin do it?
24:05Yes, she did.
24:06Oh, how nice.
24:07The film
24:08of Soledad Miranda
24:09with capital letters
24:10is undoubtedly
24:11Vampiras o Vampiros Lesbos
24:12with the German title.
24:15I saw her
24:16when she starred in Madrid,
24:17like a man.
24:18I remember perfectly.
24:29Yes, that would be possible.
24:33Maybe more than you think.
24:37Did you know
24:38that you drank blood?
24:41No.
24:50Vampiras o Vampiros Lesbos is
24:52when you get the prize
24:53of the lottery.
24:55You know it.
24:56Before you get the prize,
24:58you don't know
24:59that it's going to come to you.
25:01I remember very well
25:03that the reactions
25:04that I observed
25:05of the people
25:06watching Vampiras
25:07were above all
25:08of perplexity
25:09because it was a film
25:10without argument,
25:11without logic,
25:12without history,
25:13but that,
25:14however,
25:15somehow,
25:16hooked you.
25:19Well, I played
25:20the role of
25:21Jonathan Harker,
25:22who was Soledad's
25:23boyfriend, let's say.
25:26At the same time
25:27that we made the film,
25:28Pere Portobella
25:29made a film
25:33of the film.
25:34It wasn't a making-of,
25:35but a film
25:36of the film,
25:37which is
25:38Vampiras o Vampiros Lesbos.
25:41And there's a moment
25:45where I'm helping
25:47Soledad
25:48to put herself
25:49in the coffin,
25:51which is a very beautiful moment.
25:56It's one of the things
25:57that I remember most
25:58of the film.
25:59It's curious.
26:00And shortly after,
26:02there was her accident.
26:05It made me very sad.
26:06The death of Soledad Miranda
26:08was a very strong blow
26:10for Jesús Franco,
26:11in every sense,
26:12at every level,
26:13in the human aspect,
26:14in the emotional aspect,
26:16even because
26:17there was already
26:18a very close bond
26:19between them.
26:20They had met
26:21ten years ago,
26:22they had worked
26:23together for a long time,
26:26a long time,
26:27let's say,
26:28in intensity,
26:29but not chronologically speaking.
26:32And it was also
26:33a strong blow
26:34professionally,
26:35because Jesús Franco
26:36had found in her
26:37the ideal actress.
26:39But we have to find
26:40someone
26:43instead of Soledad.
26:44I say from the beginning,
26:46it's going to be very difficult
26:48to find another Soledad.
26:50I think Soledad
26:51was much more important
26:53for Jesús, or Jess,
26:55than he was for her.
26:56I don't know.
26:58It's a bit esoteric.
27:04Hey!
27:05Hi!
27:07My home is your home.
27:08Ah, thank you.
27:10You're welcome.
27:11This image.
27:13From Las Vampiras.
27:14Yeah, yeah, yeah,
27:15with the glass,
27:18the hair,
27:21the eyes.
27:22And it's supposed to be blood.
27:23They're drinking blood.
27:25Yeah, yeah, yeah, yeah.
27:28The wine of Alicante
27:30in Spain.
27:31But it's okay.
27:32So you come to Sevilla
27:33and maybe say something
27:35at the tribute?
27:36Mmm, wow.
27:38It's so, so nice.
27:40It would be my honor.
27:42Yeah, absolutely, absolutely.
27:44Okay.
27:45Also, I think maybe...
27:47I will go.
27:48Can you help me
27:49contact Jack Taylor,
27:50the actor?
27:51Oh, sure, sure.
27:52Jack Taylor, yeah.
27:53Do you know him?
27:54He's a very, very
27:55old friend of mine.
27:57Mmm,
27:59my name is Vitor Gomes.
28:01I'm a singer.
28:02Actually,
28:03I was a singer before,
28:05and today I still sing.
28:07In the 60s,
28:08I was considered
28:10a band
28:12of black cats,
28:14we were considered
28:15the king of the black cats.
28:18I was considered
28:19the king of the black cats.
28:21In the 60s,
28:22I was considered
28:23a band of black cats.
28:25We are considered the king of rock in Portugal.
28:29I did several shows, I went everywhere.
28:32I made films, I called them then, film and song of longing.
28:37Babá, who was my girlfriend in the film,
28:41I was still anxious to know who Babá was.
28:45One day in the filming I had the pleasure of meeting Babá.
28:52And Babá presented herself as Miranda's loneliness.
29:08We finished filming around midnight,
29:13drinking a few glasses and dancing.
29:19We danced, there was a band and all that.
29:25Miranda's loneliness was...
29:30I'm forced to say it.
29:34I can't stay in here, because while I'm in here,
29:40I have to vent, I have to go out.
29:44I was in love with Miranda's loneliness.
29:51I fell in love with her, she didn't know.
29:55I never told her, I never showed her.
29:58Maybe I was ashamed, I don't know.
30:02No, I could tell her now, couldn't I?
30:07I was in love with you.
30:12I would be here all night talking about Miranda's loneliness.
30:27She liked to be barefoot,
30:30especially barefoot, because that's what the family likes.
30:33She was always barefoot.
30:35So she was used to going barefoot,
30:38with her feet on the sidewalk.
30:40And this car, the typical one that had that iron bar in the back,
30:45so she took that iron bar in the back,
30:48she got drunk and died.
30:53This is the Rorocío.
30:55It's a very touristy spot in Lisbon.
30:58And this is the city where Soledad is now
31:03and has been for 45 years.
31:05And will be forever.
31:26Hello!
31:27Hi!
31:29Hello!
31:31It's so nice to finally meet you!
31:33It's the same, you know.
31:35I remember when you sent me the message, blah, blah, blah,
31:38that you were coming to Lisbon.
31:40Yeah!
31:41I mean, who is she, who is she?
31:43Okay, good.
31:45So, how do you feel?
31:47It's beautiful, it's such a beautiful place this evening.
31:50Look at it, look at all of it.
31:52It's nice, it's Lisbon.
31:53It's the first time you've been in Lisbon.
31:55It is! I've never been to Portugal before.
31:58By the way, you know, if it's the first time,
32:02if you don't mind, I would like to show you.
32:04Oh, please.
32:05Come, come, come, come.
32:07We're going to start from here.
32:09Look, we're going to stay here.
32:11Come.
32:12You see?
32:14Oh, good.
32:19Okay, it's all, that's a bridge.
32:22It's like you said, the bridge in San Francisco.
32:25Oh, the Golden Gate Bridge.
32:26The Golden Gate Bridge.
32:27It looks like it.
32:28It's exactly the same bridge.
32:30That's when I went to Spain.
32:32They call me El Cordobés, which it is.
32:35Oh, there she is, there she is.
32:37Look, look, look at this face.
32:39So happy.
32:40Always.
32:41Always happy?
32:43I like the way I touch it.
32:45You know, there's something.
32:46Boom, boom, boom, boom, boom.
32:48Now, look at me.
32:51Now, some of them.
32:54Yeah, no.
32:55No.
32:58Blah, blah, blah.
33:00I never swore again.
33:01Never, never, never, never.
33:03And then I went to Africa.
33:06You know, I was on a tour.
33:08I went to South Africa, blah, blah.
33:10And I've always believed, you know.
33:13Excuse me.
33:14I had it on my mind that one day I'll be back, you know.
33:19And possibly, of course, I'll make another film.
33:24Excuse me.
33:26Oh, you wanted to make another film with her?
33:28Yes, I wanted.
33:30I don't want to say everything.
33:32But my orange, boom, boom, boom, boom.
33:35You know, yes.
33:37And then I fell too.
33:39After 18 years away from Portugal, when I arrived, you know.
33:45I got the news, bad news.
33:48You know, that she had died on an accident.
33:55And I felt really, really bad.
33:59My mission is to share Soledad with the world.
34:18Sure.
34:19You know.
34:20We must share our knowledge.
34:22That was her dream, to be known all over the world.
34:24But she finally is.
34:25Because of DVD, because of my website, you know.
34:29And because of the book I want to write.
34:31People will know more about her.
34:33But I could see, I could feel.
34:36Sometimes there was a point where I believe she was a little bit depressed.
34:43She was a little bit.
34:45Sad?
34:46Sad.
34:47There was something missing on her.
34:50I don't know what.
34:53Something is missing.
34:55You know what I mean?
34:56Something.
34:57We never know.
34:58This is all, after all, it's all a mystery.
35:01Well, and, you know, maybe she and José Manuel were coming back to the place where they fell in love.
35:10Because, you know, there's a short film called Andia and Lisboa.
35:16When they first met, they did this short film together, which is like a documentary about tourism in Lisbon.
35:25And they filmed around here, in this film, traveling between Lisbon and Estoril Cascais.
35:34And that's when they were falling in love.
35:37You can see on the film, when they look at each other, they're falling in love.
35:42Wow.
35:44Maybe they came back here to relive that.
35:49You are a jealous guy. Jealous guy.
35:53No, jealous? I can't tell who is jealous.
35:58Why him? Why him, but why not me?
36:04Which is very strange, because, after all, in that film that I would like to watch, A Day in Lisbon,
36:12in some of the scenes, some of the scenes are nearby, nearby the place.
36:20In the same place, they filmed, they shot the film, and some years after, she dies there.
36:28It's weird. It's creepy.
36:30Yeah.
36:34What do you feel, Amy?
36:36I still remember this.
36:40Right now?
36:42Yeah.
36:51I have no words.
36:52I have no words.
37:01The night before, she met with Jess Franco and his assistant, Carl Heinz Manchin,
37:08who was the assistant of Arthur Brauner, the German producer, who said,
37:14you know, I want to hire this girl. She's amazing. She has everything.
37:19I want to make a long-term contract with her.
37:22They said, Jess Franco told me in an interview with me that they met,
37:31that Soledad was on top of the world, that it was her dream come true,
37:37and that the next day, you know, they were supposed to sign the contract,
37:42and she and her husband went out driving, maybe to celebrate or just to meet him,
37:49and that's when the accident happened.
38:13So, Amy, here we are.
38:21This was the spot, the place.
38:26A year or day, it was bad news.
38:30It was bad news.
38:31It was bad news.
38:32It was bad news.
38:33It was bad news.
38:34It was bad news.
38:35It was bad news.
38:36It was bad news.
38:37A year or day, it was bad news.
39:07It's just hard to imagine for anyone, because you never know, it's going to be your last day.
39:37Just on a beautiful morning, when you're just driving along, coming down this curve,
39:45just on a beautiful day, and you don't know, and then suddenly, your paradise is over.
39:55A year or day later, she was found dead.
40:06So, I called the news, and it was in the daily news.
40:11And then the news came out that my aunt had died.
40:16And that's it.
40:18I fall to the floor.
40:20The body does not respond because it is so much that you fall as hard as not that.
40:25And when I got home, my mother, as they say, cried inside something and stayed for a month and a half without speaking.
40:37Oh, I don't know, it's very sad to think about that. I get excited again.
40:42I think I'm not excited. I always cry. And I think I'm not excited. It's all gone. She's gone. She's gone.
41:12Ata con lida dura.
41:27A todos van.
41:39A perdonando ese día.
41:53Y no es su...
42:01¿No tiene nombre?
42:036438. Compartimento Osario Municipal 6438.
42:23¿Puedo?
42:49Plano Vampira 4.
42:54Venga, dámelo, dámelo, evádete.
42:59Quítatelo, quítatelo todo.
43:03Piensa, piensa, no quiero quejar.
43:13Vamos, vamos, chiquilla.
43:17¡No!
43:47Muy bonito. Muy bonito.
43:55¡Buenas noches! ¡Buenas noches!
44:00Encantado.
44:06Es el trabajo de mi vida por... spread?
44:15Conservar sus memorias.
44:18Yo hace ya muchos años que sé de ti. Mucho, mucho, mucho.
44:22Lo único que pasa es que no se ha terciado nunca de poder tener esa oportunidad de vernos.
44:28Y te doy las gracias porque has sido la que nos ha empujado a poder hacer esto.
44:34Si no, no lo hacíamos.
44:36Tienes una familia con nosotros. No sé si no entendemos.
44:40Muy bonito.
44:45¡Jack!
44:46¡Hola!
44:47¡Hola!
44:49Thank you so much for coming. Gracias por venir.
44:52Gracias por invitarme. Thank you for inviting me.
44:55¡Vamos!
44:56Es que es la etapa preferida de mi vida porque me gustaba bailar, y nos veíamos,
45:00y íbamos al teatro, y ensayábamos.
45:02Ella estaba en la Academia del Pinto.
45:04Exactamente.
45:05Y yo estaba en la Adelita Domingo.
45:07Exactamente.
45:08Pero en el teatro. Nos veíamos todos los días.
45:10¿Dónde estás?
45:40Ay, ay, ay, cargadito.
46:10Oh, con la cruz atada, con ligaduras.
46:33¡Ay!
46:44Yo he escrito dos libros sobre Jesús, y en ambos he puesto a Soledad Miranda en portada.
46:50Este película se hizo hace 46 años, algo así.
46:56Ha llovido, ha habido tsunamis, ha nevado, terremotos, pero es la marca del cine.
47:04Ahí está todavía.
47:06Y se acabó. No podía ver más películas de ella porque no había más películas de ella.
47:12Yo entonces no podía ignorar que era el comienzo de un culto que progresivamente
47:19seguía extendiendo, seguía dimensionando y sobredimensionando,
47:23y que llega hasta hoy y que ha conocido un punto de inflexión importante en Quentin Tarantino.
47:28Tarantino cuando vino a Madrid a presentar su película Jackie Brown,
47:33que yo creo que es la mejor que ha hecho con diferencia,
47:36dijo textualmente, soy un gran fan de Soledad Miranda
47:40y mi gran frustración es no haber podido haber hecho una película con ella de protagonista
47:46y por eso, cuanto menos de consuelo, he incorporado un tema musical de las vampiras
47:52en un momento de la banda sonora de mi película.
47:55En todas las épocas y en todos los siglos y las cosas siempre nacen unos genios
48:02y en este caso Soledad fue uno de ellos.
48:06Es como podría haber sido Cervantes o Picasso o cualquiera de estos,
48:10sino que ella lo ha sido en el cine.
48:17Cine de verano. Agosto del 77 o 78.
48:25Polígono de San Pablo.
48:29Drácula.
48:33La novia está buenísima.
48:37Es sevillana y nadie lo sabe.
48:41Y ahora vamos a tocar.
48:46Polígono de San Pablo.
49:08Bueno, en este caso una canción de un grupo que se llama I Son Blanche
49:13que homenajearon a Jesús Franco con un tema.
49:16Vamos a hacer una versión de ellos.
49:31Y vamos a ir terminando con un tema de la propia Soledad Miranda.
49:35Se llama El color del amor.
49:43El color de todo.
49:49El año de luna que me lleva hasta aquí.
49:59El verde del mar que me separa de ti.
50:06Los tristes momentos.
50:15Adiós.
50:20¿Cuál es el color? ¿Cuál es el color?
50:25¿Cuál es el color del amor?
50:30Historia, belleza, tragedia.
50:35Ojos negros.
50:37Ojos negros en los que puedes ver la alma del tiempo.
50:41La mujer más dolorosa y hermosa que ha vivido.
50:46Nunca ha habido nadie como ella.
50:49Y nunca será.
50:51Soledad Miranda.
50:59Soledad Miranda.
51:29I wish my job was bigger.
51:32I wish there were more films for me to investigate.
51:36A very sad song.
51:39It's a slow number.
51:41And it goes like this.
51:44Take the ribbons from your hair
51:48Shake them loose and let them fall
51:53Lay them softly against my skin
51:58Like the shadows on the wall
52:03Come and lay down by my side
52:09Till the early morning light
52:14All I'm asking is your time
52:19Help me make it through the night
52:24I don't care what's right or wrong
52:30I will try to understand
52:34Let the devil take tomorrow
52:38Because tonight I need a friend
52:42A friend which is you.
52:44OK?
52:45Soledad Miranda.
52:47A big kiss.
52:48And I still love you.
52:52Bye.
52:54Bye-bye.
52:57All right, I'm dead.
52:59And if I move, let me be punished.
53:01And I'll submit for the dead can't protest.
53:04Recordando a usted
53:09Sin soledad
53:14Sin soledad
53:17Sin soledad
53:19Recordando a usted
53:22Recordando a usted
53:24Guitar solo
53:46Recordando a usted
53:51Soledad
53:54Soledad
53:56Recordando a usted
54:01Soledad
54:04Soledad
54:07Recordando a usted
54:11Soledad
54:14Soledad
54:35Gracias.
54:36Bonito del norte.
54:39Y no quiero ser grosero.
54:40Como no hay niños pequeños, seguro que más de uno,
54:43cuando ha llegado a su casa, se ha cogido
54:46y ha tirado todos los ajos que tenía.
54:48Ahora vamos a hacer la canción que más por culo nos ha dado.
54:52¿Verdad, querido?
54:54Es como si un vampiro te muerde pero el hijoputa está mellao
54:58y no vea la que te da.
55:00Y yo pasemos a la transfusión directamente y seamos modernos.
55:05Esta canción va dedicada al presidente antiguo del Real Petit Balompié,
55:13al opera.
55:15Ese sí que era un vampiro.
55:21Bueno, no.
55:22Va dedicado a Soledad Miranda.