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Maria Montez

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For the airport, see María Montez International Airport. For the metro station, see María Montez metro station.

María Montez
Maria Montez in 1944
Born
María África Gracia Vidal

(1912-06-06)6 June 1912
Barahona, Dominican Republic
Died7 September 1951(1951-09-07) (aged 39)
Suresnes, France
Resting placeCimetière du Montparnasse
OccupationActress
Years active1940–1951
Height5 ft 7 in (170 cm)
Spouses
William McFeeters
​
​
(m. 1932; div. 1939)​
​
(m. 1943)​
ChildrenTina Aumont
AwardsJuan Pablo Duarte Order of Merit (1943)[1]

María África Gracia Vidal[2] (6 June 1912 – 7 September 1951), known professionally as Maria Montez, was a Dominican actress who gained fame and popularity in the 1940s starring in a series of filmed-in-Technicolor costume adventure films. Her screen image was that of a seductress, dressed in fanciful costumes and sparkling jewels. She became so identified with these adventure epics that she became known as The Queen of Technicolor. Over her career, Montez appeared in 26 films, 21 of which were made in North America, with the last five being made in Europe.

Early life

[edit]

Montez was born María África Gracia Vidal (some sources cite María Antonia Gracia Vidal de Santo Silas, María África Antonia Gracia Vidal de Santo Silas or Maria Antonia Africa Gracia Vidal da Santo Sila[3] as her birth name) in Barahona, Dominican Republic.[4] Educated at the Sacred Heart Convent in Santa Cruz de Tenerife, Spain, she was the second[5] of ten children (Isidoro Gracia Vidal, Aquilino Gracia Vidal[6]) born to Isidoro Gracia y García,[7][8] a Spaniard, from Garafía,[9][5] La Palma, Canary Islands, Spain, and Regla María Teresa Vidal y Recio, a Dominican of Criollo descent, although it is unclear how many survived into adulthood.

In the mid-1930s, her father was appointed to the Spanish consulship in Belfast, Northern Ireland where the family moved. It was there that Montez met her first husband, William G. McFeeters, whom she married at age 17.[citation needed][1]

"A finales de 1929, con 17 años, su padre la internó en un colegio de religiosas de Tenerife con la intención de que olvidara a un cincuentón del que se había enamorado. Pero en octubre de 1930, la actriz regresó a su tierra natal y reanudó sus relaciones con el banquero irlandés William G. MacFeeters, con el que terminaría casándose en 1932."[2]

Montez learned English and was educated at a Catholic convent school in Santa Cruz de Tenerife, Spain.[10]

Career

[edit]
Maria Montez in Magazine ad.

On 3 July 1939, Montez arrived in New York.[10] Her first job, for $50, was for the cover of a magazine.[10]

Montez was spotted by a film talent scout in New York.[citation needed] Her first film was Boss of Bullion City (1940), a Johnny Mack Brown western produced by Universal Pictures. This was the first film where she played a leading role and the only role where she speaks some Spanish.

Her next film role was in The Invisible Woman (1940). It was made for Universal Pictures, who signed her to a long-term contract starting at $150 a week.[11]

She had small decorative roles in two films with the comedy team of Richard Arlen and Andy Devine, Lucky Devils and Raiders of the Desert; the Los Angeles Times said she "was attractive as the oasis charmer" in the latter.[12] She also appeared in Moonlight in Hawaii and Bombay Clipper. She had a small part in That Night in Rio (1941), made at 20th Century Fox.

Universal did not have a "glamour girl" like other studios, an equivalent to Hedy Lamarr (MGM), Dorothy Lamour (Paramount), Betty Grable (20th Century Fox), Rita Hayworth (Columbia), or Ann Sheridan (Warner Bros). They decided to groom Maria Montez to take on this role, and she received a lot of publicity.[13] Montez was also a keen self-promoter.[14][15] In the words of The Los Angeles Times "she borrowed an old but sure-fire technique to get ahead in the movies. She acted like a movie star. She leaned on the vampish tradition set up by Nazimova and Theda Bara... She went in heavily for astrology. Her name became synonymous with exotic enchantresses in sheer harem pantaloons."[16] She took on a "star" pose in her private life. One newspaper called her "the best commissary actress in town... In the studio cafe, Maria puts on a real show. Always Maria makes an entrance."[11]

In June 1941 Montez's contract with Universal was renewed.[17] She graduated to leading parts with South of Tahiti, co-starring Brian Donlevy. She also replaced Peggy Moran in the title role of The Mystery of Marie Roget (1942).[18] Public response to South of Tahiti was enthusiastic enough for the studio to cast Montez in her first starring part, Arabian Nights. She claimed in 1942 she was making $250 a week.[13]

Arabian Nights and stardom

[edit]
Maria Montez.

Arabian Nights was a prestigious production for Universal, its first shot in three-strip Technicolor, produced by Walter Wanger and starring Montez, Jon Hall, and Sabu. The resulting film was a big hit and established Montez as a star.

Montez wanted to portray Cleopatra,[19] but instead Universal reunited her with Hall and Sabu in White Savage (1943) (where Montez was upped from second-billing to top-billing). They went on to make a third film, Cobra Woman (1944). All three were audience favorites.

In 1943 Montez was awarded two medals from the Dominican government for her efforts in promoting friendly relations between the US and her native land.[20]

Universal wanted three more films starring Montez, Hall, and Sabu. Sabu, however, was drafted into the US Army and so was replaced by Turhan Bey in Ali Baba and the Forty Thieves (1944). Hall, Montez, and Bey were meant to reunite in Gypsy Wildcat (1944), but Bey was required on another film and ended up being replaced by Peter Coe. Sudan (1945) starred Montez, Hall, and Bey, with Bey as Montez's romantic interest this time.

Flame of Stamboul was another proposed Hall-Bey-Montez film but it was postponed.[21] Universal also announced that Montez would play Elisabeth of Austria in The Golden Fleece, based on a story by Bertita Harding, but it was never made.[22] She did appear in Follow the Boys, Universal's all-star musical, and Bowery to Broadway.

In 1944 Montez said that the secret to her success was that she was "sexy but sweet...I am very easy to get along with. I am very nice. I have changed a lot during the last year. I have outgrown my old publicity. I used to say and do things to shock people. That was how I became famous. But now it is different. First the public likes you because you're spectacular. But after it thinks you are a star it wants you to be nice. Now I am a star, I am nice."[23]

Conflicts with Universal

[edit]

Montez said she was "tired of being a fairy tale princess all the time" and wanted to learn to act.[23] She fought with Universal for different, more varied parts.

"Sudan is making more money than the others and Universal thinks on that account I should appear in more of these films", she said. "But I want to quit these films when they are at a peak, not on the downbeat. It isn't only that the pictures are all the same, but the stories are one just like the other."[24]

Montez was suspended for refusing the lead in Frontier Gal; her role was taken by Yvonne De Carlo, who had become a similar sort of star like Montez and began to supplant the latter's position at the studio.[25]

In 1946 Montez visited France with Aumont and both became excited about the prospect of making films there. In particular, Aumont negotiated rights to the book Wicked City and Jean Cocteau wanted to make a film with both. Aumont says they were determined to get out of their respective contracts in Hollywood and move to France.[26]

Universal put Montez in a modern-day story, Tangier, an adaptation of Flame of Stamboul; it reunited her with Sabu, although not with Jon Hall, who was by then serving in the US Army. There was some talk Montez would star in The Golden Fleece project (as Queen of Hearts), produced independently with Aumont co-starring.[27] The King Brothers reportedly offered her $150,000 plus 20% of the profits to appear in The Hunted.[28] Neither film was made. Instead Montez appeared in a Technicolor western for Universal, Pirates of Monterey (1947) with Rod Cameron.

In February 1947 she and Aumont started filming a fantasy adventure, Siren of Atlantis (1948) for a fee of 100,000. In April she was borrowed by Douglas Fairbanks Jr. to appear in the sepia-toned swashbuckler The Exile (1948), directed by Max Ophüls, produced by Fairbanks but released by Universal. Fairbanks Jr. says Montez wanted to play the role over the objections of Universal; she later insisted on top billing despite the small nature of the role. In August 1947 Universal refused to pick up their option on Montez' contract, and she went freelance.[29] Montez sued Universal for $250,000 over the billing issue; the matter was settled out of court.[30] In February 1948 Universal reported Montez has earned $78,375 that year.[31]

Freelance career

[edit]
Maria Montez in Argentine magazine.

In 1947 Hedda Hopper announced Montez and her husband would make The Red Feather about Jean Lafitte.[32] She was also announced for Queen of Hearts, this time not the Elizabeth of Austria project but an adaptation of a European play by Louis Verneuil, Cousin from Warsaw.[33] Neither film was made.

Siren of Atlantis ended up requiring re-shoots and was not fully released until 1949. It proved unsuccessful at the box office in the US (although it performed respectfully in France and other parts of Europe). Montez later successfully sued the producer for $38,000 in unpaid contractual funds.[34]

Montez endorsed Max Factor Cosmetics, Jergens Lotion, Deltah Pearls,[35][36] Lux Soap, and Woodbury Powder.[37][38][39][40][41]

European career

[edit]

Montez and Aumont formed their own production company, Christina Productions.[42] They moved to a home in Suresnes, Île-de-France in the western suburb of Paris, under the French Fourth Republic. According to Aumont, they were going to star in Orpheus (1950), which Aumont says Jean Cocteau wrote for him and Montez. However, the filmmaker decided to use other actors instead.[43]

In July 1948 Montez and Aumont made Wicked City (1949) for Christina Productions with Villiers directing and Aumont contributing to the script. It was one of the first US-French co productions after the Second World War. Christina provided the services of Aumont, Montez, and Lilli Palmer; in exchange Christina's share would be paid off first out of US receipts.[44]

Aumont had begun writing plays and Montez appeared in the one-woman production, L'lle Heureuse ("The Happy Island"); reviews were poor, however.[45] Her next film was Portrait of an Assassin (1949), which was meant to feature Orson Welles but ended up co-starring Arletty and Erich von Stroheim.

In September 1949 it was announced Montez would make The Queen of Sheba with Michael Redgrave for director François Villiers; the film was not made, however.[46]

Montez appeared in an Italian swashbuckler, The Thief of Venice (1950), with a Hollywood director, John Brahm. Again in Italy, she was in Love and Blood (1951), followed by another co-starring her husband, Revenge of the Pirates (1951). This would be the last feature she ever made.

Montez also wrote three books, two of which were published, as well as penning a number of poems.

At the time of her untimely death, Montez's US agent, Louis Shurr, was planning her return to Hollywood to appear in a new film, Last Year's Show, to be made for Fidelity Pictures.[16]

Personal life

[edit]

Montez was married twice. Her first marriage was to William Gourley Macfeeters,[47][48][49][50] the agent for Barahona of the First National City Bank of New York,[51] and a banker who had served in the British Army.[52] They married 28 November 1932,[53] when Montez was 20 years old, they lived in Barahona, Dominican Republic,[54] and divorced in 1939.[1] Her second husband Jean-Pierre Aumont described him as "an Irishman who was naive enough to think he could lock her up in some frosty castle."[55] For more than a year, Montez was reportedly engaged to Claude Strickland, a flight officer with the RAF whom she met in New York.[56] However, it was later revealed that this was just a publicity stunt.[57]

While working in Hollywood, Montez met French actor Jean-Pierre Aumont. Aumont later wrote "to say that between us it was love at first sight would be an understatement".[55] They married on 14 July 1943 at Montez's home in Beverly Hills.[58] Charles Boyer was Aumont's best man and Jannine Crispin was Montez's matron of honour.[59] According to Aumont "it was a strange house. You didn't answer the phone or read the mail; the doors were always open. Diamonds were left around like ashtrays. Lives of the Saints lay between two issues of movie magazines. An astrologer, a physical culture expert, a priest, a Chinese cook, and two Hungarian masseurs were part of the furnishings. During her massage sessions, Montez granted audiences."[55]

Aumont had to leave a few days after wedding Montez to serve in the Free French Forces which were fighting against Nazi Germany in the European Theatre of World War II. At the end of World War II, the couple had a daughter, Maria Christina (also known as Tina Aumont), born in Hollywood on 14 February 1946.[1] In 1949 Aumont announced that they would get divorced but they remained together until Montez's death.[60]

Death

[edit]

The 39-year-old Montez died in Suresnes, France, on 7 September 1951 after apparently suffering a heart attack and drowning while taking a hot bath.[61][62] She was buried in the Cimetière du Montparnasse in Paris.

She left the bulk of her $200,000 estate (more than $2 million in 2021 dollars) to her husband and their five-year-old daughter.[63]

Legacy

[edit]
Publicity photography of Maria Montez for an Argentine magazine (1944)

From the Dominican Republic, Montez received two decorations: the Juan Pablo Duarte Order of Merit in the Grade of Officer and the Order of Trujillo in the same grade, presented to her by President Rafael Leónidas Trujillo in November, 1943. In 1944, she was named Goodwill Ambassador of Latin American countries to the United States in the so-called Good Neighbor policy. In 2009 the Santo Domingo metro in the Dominican Republic named their main terminus Station Maria Montez.

Shortly after her death, a street in the city of Barahona, Montez's birthplace, was named in her honor.[61] In 1996, the city of Barahona opened the Aeropuerto Internacional María Montez (María Montez International Airport) in her honor. In 2012, a station on Line 2 of the Santo Domingo Metro was named in her honor.

In 1976, Margarita Vicens de Morales published a series of articles in the Dominican newspaper Listín Diario's magazine Suplemento, where she presented the results of her research on Montez's life. The research culminated in 1992 with the publication of the biography Maria Montez, Su Vida. After the first edition, a second edition was published in 1994, and a third followed in 2004.

In 1995, Montez was awarded the International Posthumous Cassandra, which was received by her daughter, Tina Aumont. In March 2012, the Casandra Awards were dedicated to Montez to commemorate the centenary of her birth.

The American underground filmmaker Jack Smith idolized Montez as an icon of camp[64] style. He wrote an aesthetic manifesto titled "The Perfect Filmic Appositeness of Maria Montez", and made elaborate homages to her films in his own, including his notorious Flaming Creatures (1963).[65]

The Spanish authors Terenci Moix and Antonio Perez Arnay wrote a book entitled Maria Montez, The Queen of Technicolor that recounted her life and reviewed her films.

The Dominican painter Angel Haché included in his collection Tribute to Film, a trilogy of Maria Montez and another Dominican painter, Adolfo Piantini, who dedicated a 1983 exhibit to her that included 26 paintings made using different techniques.

Dalia Davi, Puerto Rican actress from the Bronx, created the 2011 play The Queen of Technicolor Maria Montez. Davi wrote, directed, and starred in the play.[66]

The journalist and Dominican actress Celinés Toribio stars as Montez in the 2015 film Maria Montez: The Movie, which she also executive produced.

In 1998, the TV show Mysteries and Scandals[67] made an episode about Maria Montez. Montez is a key character in Gore Vidal's 1974 novel Myron, his sequel to Myra Breckenridge. Montez is mentioned by name in The Boys in the Band, both the play (1968) and the film (1970).

Filmography

[edit]
Year Title Role
1940 Boss of Bullion City Linda Calhoun
1940 The Invisible Woman Marie
1941 Lucky Devils Bathing Beauty (uncredited)
1941 That Night in Rio Inez
1941 Raiders of the Desert Zuleika
1941 Moonlight in Hawaii Ilani
1941 South of Tahiti Melahi
1942 Bombay Clipper Sonya Dietrich Landers
1942 The Mystery of Marie Roget Marie
1942 Pardon My Sarong (scenes deleted)
1942 Arabian Nights Sherazade
1943 White Savage Princess Tahia
1944 Ali Baba and the Forty Thieves Amara
1944 Follow the Boys Herself (uncredited)
1944 Cobra Woman Tollea / Naja
1944 Gypsy Wildcat Carla
1944 Bowery to Broadway Marina
1945 Sudan Queen Naila
1946 Tangier Rita
1947 The Exile Countess Anabella de Courteuil
1947 Pirates of Monterey Marguerita Novarro
1949 Siren of Atlantis Queen Antinea
1949 Wicked City Dolores l'entraîneuse
1949 Portrait of an Assassin Lucienne de Rinck
1950 The Thief of Venice Tina Pisani
1951 Love and Blood/Shadows Over Naples Dolores
1951 Revenge of the Pirates Consuelo

Unmade films

[edit]

Bibliography

[edit]
  • Aumont, Jean-Pierre (1977). Sun and Shadow: an Autobiography. W.W. Aumont.

References

[edit]
  1. ^ a b c d "The Life and Times of Maria Montez". glamourgirlsofthesilverscreen.com. Retrieved 19 November 2022.
  2. ^ a b "María Montez regresa a sus orígenes". Villa de Garafia (in Spanish). 19 October 2012. Retrieved 26 December 2022.
  3. ^ Movie Stars of the '40s, by David Ragan; published 1985 by Prentice-Hall; p. 141; ISBN 0-13-604992-3
  4. ^ Hadley-García, George (1991). Hispanic Hollywood: The Latins in Motion Pictures. Carol Pub. Group. p. 114. ISBN 0-806-51185-0.
  5. ^ a b Jerez, Jharyn (8 September 2022). "María Montez: Una actriz dominicana que brilló en Hollywood". El boletín Noticioso (in Spanish). Retrieved 26 December 2022.
  6. ^ "María Gracia Vidal". my heritage. Retrieved 26 December 2022.
  7. ^ "Los orígenes palmeros de la actriz de Hollywood María Montez (1)". El Apurón. Retrieved 26 December 2022.
  8. ^ "Los orígenes palmeros de la actriz de Hollywood María Montez (2)". El Apurón. Retrieved 26 December 2022.
  9. ^ "Reina del technicolor". El Día (Canary Islands). 19 October 2012. Retrieved 26 December 2022.
  10. ^ a b c "La reina del technicolor María Montez nace un día como hoy". Centro de Noticias Sur (in Spanish). 6 June 2022. Retrieved 26 December 2022.
  11. ^ a b Haugland, Vera (28 September 1941). "Maria Montez Puts On Best Show Without Benefit of Camera". The Washington Post. p. L2.
  12. ^ "Pair Invade Film Desert". Los Angeles Times. 9 July 1941. p. 16.
  13. ^ a b "Maria Montez Puts Paprika in New Glamor Type: Sensational, but Proper, She Calls Herself". Chicago Daily Tribune. 15 November 1942. p. H10.
  14. ^ Esposito, Veronica (16 August 2022). "The Queen of Technicolor: the famous life and tragic death of Maria Montez". the Guardian. Retrieved 25 December 2022.
  15. ^ "Maria Montez". Getty Images. Retrieved 25 December 2022.
  16. ^ a b "Movie Colony Shocked by Maria Montez Death". Los Angeles Times. 8 September 1951. p. 3.
  17. ^ "Maria Montez to Stay at Universal". The Washington Post. 28 June 1941. p. 8.
  18. ^ "SCREEN NEWS HERE AND IN HOLLYWOOD: ' Teach Me to Live' Bought by Metro for Walter Pidgeon -- Fritz Lang Quits Film BIRTH OF THE BLUES' HERE Paramount Shows Comedy With Music -- 'Cadet Girl' Is New Attraction at Palace". New York Times. 10 December 1941. p. 35.
  19. ^ Schallert, Edwin (21 December 1942). "DRAMA: Clio Role May Inspire Vivien Leigh Return Tierney Again Abroad Nile Queen Lures Maria Colman Termer on Tapis Cowan May Join U.A. Mary Philips Resumes". Los Angeles Times. p. 15.
  20. ^ "Maria Montez Honored by Her Native Country". Los Angeles Times. 25 October 1943. p. 8.
  21. ^ Scheuer, Philip K. (11 September 1943). "DRAMA AND FILM: Helen Walker Awarded Starring Opportunity Maria Montez, Hall and Turhan Bey Will Appear in 'Flame of Stamboul'". Los Angeles Times. p. 7.
  22. ^ Schallert, Edwin (17 August 1943). "Likely to Pay Empress Role R.K.O. Halts Shooting on 'Revenge;' Alexander Knox in None Shall Escape'". Los Angeles Times. p. 10.
  23. ^ a b Mason, Jerry (12 March 1944). "AIR AND SULTRY: Maria Montez has changed in the last year--she says...". Los Angeles Times. p. F15.
  24. ^ Schallert, Edwin (9 June 1945). "Daughter of Director Begins Cinema Career". Los Angeles Times. p. A5.
  25. ^ "Screen News: To Aid Actors Fund". New York Times. 19 April 1945. p. 22.
  26. ^ Aumont p 125-126
  27. ^ Schallert, Edwin (22 May 1946). "Montez to Realize Aim in Austrian Ruler Role". Los Angeles Times. p. A2.
  28. ^ Schallert, Edwin (20 April 1946). "Montez to Chameleon Way Out of Fantasy". Los Angeles Times. p. A5.
  29. ^ Brady, Thomas F. (3 August 1947). "UNITED ARTISTS REMAINS DIVIDED: Pickford-Chaplin Impasse Blocks Reorganization -- Other Studio Notes". New York Times. p. X3.
  30. ^ Brady, Thomas (4 December 1947). "FERRER MAY STAR IN FILM FOR GEIGER: Producer Plans to Do Movie of 'Moby Dick' and Stage Veteran Agrees to Role". New York Times. p. 41.
  31. ^ "Mayer's Salary". Variety. 25 February 1948. p. 20.
  32. ^ Hopper, Hedda (30 June 1947). "Jean Aumont, Maria Montez Get Roles in 'Red Feather'". The Washington Post. p. 12.
  33. ^ Hopper, Hedda (18 August 1947). "LOOKING AT HOLLYWOOD". Los Angeles Times. p. A3.
  34. ^ "Maria Montez Files New Suit". Los Angeles Times. 14 October 1948. p. 5.
  35. ^ Bazar, Josh. "Imperial Pearls". Nevada Coin Mart. Retrieved 25 December 2022.
  36. ^ "Deltah". Company History. Imperial Pearl. Retrieved 25 December 2022.
  37. ^ "Maria Montez, Deltah Pearls, Vintage Print Ad". eBay.
  38. ^ "Maria Montez, Jergens Lotion, Vintage Print Ad". eBay.
  39. ^ "Maria Montez, Max Factor Cosmetics, Makeup, Make Up, Vintage Print Ad". eBay.
  40. ^ "Maria Montez, Woodbury Powder, Vintage Print Ad". eBay.
  41. ^ "Maria Montez, Lux Soap, Full Page Vintage Print Ad". eBay.
  42. ^ Hopper, Hedda (28 March 1948). "Aumonts' Life Pivots on Baby: Jean Pierre and Maria Montez Have Dizzy Household Life Is Dizzy but Happy in Aumonts' Household". Los Angeles Times. p. C1.
  43. ^ Aumont p 132
  44. ^ Thomas Jr, George (12 December 1948). "Filming in Paris: Notes on First Franco -- American Projects". New York Times. p. X6.
  45. ^ Aumont p 137
  46. ^ Hopper, Hedda (20 September 1949). "Maria Montez Signs for 'Queen of Sheba'". Los Angeles Times. p. B6.
  47. ^ "William Gourley Macfeeters 1893-1968". ancestry.com. Retrieved 26 December 2022.
  48. ^ Zimmerman, Tom (26 July 2022). The Queen of Technicolor: Maria Montez in Hollywood. University Press of Kentucky. ISBN 978-0-8131-8258-2. MacFeeters
  49. ^ Torres-Saillant, Silvio; Hernández, Ramona (1998). The Dominican Americans. Greenwood Publishing Group. p. 180. ISBN 978-0-313-29839-4. Retrieved 26 December 2022.
  50. ^ "William Gourley McFeeters". geni. Retrieved 26 December 2022.
  51. ^ "Biography". MariaMontez.org. Retrieved 26 December 2022.
  52. ^ Ruíz, Vicki; Sánchez Korrol, Virginia (2006). Latinas in the United States: A Historical Encyclopedia. Indiana University Press. p. 485. ISBN 0-253-34681-9.
  53. ^ "Maria Montez". nndb.com. Retrieved 26 December 2022.
  54. ^ "IMAGES OF BARAHONA". mariamontez.org. Retrieved 26 December 2022.
  55. ^ a b c Aumont p 81
  56. ^ "Latin Actress Discloses Betrothal to R.A.F. Flyer: Maria Montez Tells Reason for Wearing British Insignia". Los Angeles Times. 18 June 1941. p. A8.
  57. ^ "To the Rear of the Class, Baron Munchausen: Those Droll Fellows, the Press Agents, Set New Highs for the Lie Sublime". New York Times. 23 August 1942. p. X3.
  58. ^ "Maria Montez and Pierre Aumont wed". calisphere. 1943. Retrieved 25 December 2022.
  59. ^ "Maria Montez Weds French Actor". Pittsburgh Post-Gazette. 14 July 1943. p. 5.
  60. ^ "DREAMS END: Actor Aumont to Divorce Maria Montez". Los Angeles Times. 23 March 1949. p. 24.
  61. ^ a b Ruíz, Vicki; Sánchez Korrol, Virginia (2006). Latinas in the United States. Indiana University Press. pp. 486–487. ISBN 0-253-34680-0.
  62. ^ "Maria Montez, 31, Dies Suddenly After Reducing Bath in Paris Home; Doctors Attribute Her Death to Heart Attack, but Do not Rule Out an Accident". The New York Times. 8 September 1951. Retrieved 26 December 2022.
  63. ^ "Maria Montez Will Is Found". New York Times. 11 February 1952. p. 25.
  64. ^ Harvey, Dennis (14 July 2022). "Screen Grabs: The tragically camp exotica of Maria Montez". 48 hills. Retrieved 25 December 2022.
  65. ^ Senses of Cinema Archived 2009-02-20 at the Wayback Machine
  66. ^ "Dalia Davi's "Maria Montez Queen Of Technicolor"". repeatingislands.com. 29 September 2011. Retrieved 21 August 2016.
  67. ^ Maria Montez – Mysteries and Scandals on YouTube
  68. ^ Schallert, Edwin (23 January 1941). "Douglas MacLean Wins Film Producer Post: Gwenn to Act Diplomat Ross-Krasna Story Set Maria Montez Assigned 'Miss Arkansas' Sought Edwards in 'Power Dive'". Los Angeles Times. p. 13.
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