36 Facts About Juan Orol

Juan Rogelio Garcia Garcia, better known as Juan Orol, was a Spanish-born Mexican actor, film producer, director and screenwriter.

Juan Orol Rogelio Garcia Garcia was born on August 4,1897, in the parish of Santiso, in the town of Lalin in Pontevedra, Spain.

Juan Orol's father was a commander of the Spanish armed forces.

Juan Orol's mother, a woman of peasant origin, was a single mother.

In Cuba, Juan Orol lived in the low neighborhoods, known in Cuba as "solares".

Young Juan Orol had many occupations at the same time: boxer, mechanic, racing driver, journalist, actor, bullfighter and police officer.

Juan Orol's biography is absolutely bizarre, full of impossible and unconnected episodes.

Juan Orol started working on the radio as artistic director and publicist while he contacting with the nascent Mexican film industry.

Juan Orol debuted in the Cinema of Mexico as a supporting actor in the film Sagrario, made by the newly created Aspa Films under the direction of Ramon Peon, known as the Cuban Griffith.

Juan Orol debuted as director in the film Dear Mother, the third production of Aspa Films.

However, Juan Orol himself recognized Jose Bohr, one of the pioneers of talkies in Mexico, as the most influential filmmaker.

Juan Orol's films developed a signature style, with the recurring themes of the tropics, the rumberas, exotic landscapes, beautiful and provocative women and the cabaret as an ideal location.

Juan Orol filmed in different countries: Mexico, Cuba, Puerto Rico, the United States, and Spain.

Juan Orol had a "one man band" performance in movies.

In search of a new female star of his films, Juan Orol moved to Cuba, where he discovered what would be his next filmic muse: Rosa Carmina.

Juan Orol became the most representative and prolific filmic muse of Orol.

Esquivel debuted in the film Zonga, The Diabolic Angel, a film that was the first movie Juan Orol filmed in color.

Juan Orol made a cameo as himself, in a brief scene lasting under a minute.

Juan Orol assumed that his film collection had succumbed to the fire at the National Film Archives of Mexico in 1982.

Juan Orol died of liver disease in Mexico City on May 26,1988.

Juan Orol was famous for introducing numerous foreign actresses to the Mexican Cinema.

In Cuba, Juan Orol discovered Rosa Carmina, his next filmic muse.

Juan Orol was a man who felt he should participate in and supervise everything.

Juan Orol did things because of his drive and his passion for the films without taking much time in his studio.

Juan Orol did not try to explain the psychology of his characters and the geography of the locations that he used.

Not surprisingly, Juan Orol boasted that he was The director of the crowds.

However, unlike the American filmmaker, Juan Orol did not need a posthumous tribute to be recognized.

Juan Orol earned box office success in his time, the public admired his filmic muses and his evil gangsters, no matter the plot and technical poverty of his productions.

Juan Orol ignored criticism of his work, like with I Hate You and I Love You, a film that the critics directly called "very bad".

Juan Orol even had the luxury of doing remakes of his own work: he made a new version of Dear Mother, his biggest hit, in 1950.

Juan Orol's works were a succession of failures with limited exhibitions, and he only made a fifth of the number of films that Orol made.

Juan Orol stretched his film's budgets and was known as a director of one shot.

Juan Orol did not use special effects in his works.

The film director Sergio Vejar, camera operator of Zonga, The Diabolic Angel, says that Juan Orol ordered Mary Esquivel to paint each of her nails a different color to extend her hands to the camera, thus reducing production costs.

Juan Orol is regarded as the spiritual father of the called Rumberas film for having the laid the foundations that enriched the film genre.

In 2012, Juan Orol was the subject of the biopic El fantastico mundo de Juan Orol, directed by Sebastian del Amo.