By Francky Knapp
1/24/2019
She was billed as the human, ”Cuban H-Bomb” by the
American media in the 1950s, ’cause Chelo Alonso was Cuba’s answer to Marilyn
Monroe. Simply a force to be reckoned with, she exploded onto the international
movie scene in the 1950s as both a dancer, instantly drawing comparisons to
Josephine Baker, and as a starlet who carved out a place for women in the
Pan-Latina community. Che Guevara developed a serious crush on her, and while
we’re also crushing on her for numerous reasons (that eyeliner! those moves!),
we’re in love with her for one thing in particular: the way she showed that
strength and sensuality don’t have to be mutually exclusive. In fact, they go
together quite fabulously…
Chelo was born Isabel Apolonia García Hernández in
Camagüey, Cuba, on April 10, 1933 and quickly became a local ballerina legend
at the National Theatre in Havana. When she snagged a gig at a Paris’
celebrated burlesque joint, Folies Bergère, she left her homeland to take her
career to new heights.
It’s a good thing she did, or the world would be shy one
amazing dance move: the Afro-Cuban “bump ‘n grind”. Chelo basically took the
Folies’ signature gyrating moves, as the story goes, and tossed a bit of her
homeland funk into the mix. The result? “[Her] Torrid Torso Tossing Pops
Parisian Eyeballs with Tropical Tease!” according to one magazine. And it looks
like she might have taught Shakira a thing or two…
Chelo brought something different to the late-night
table, at a time when anything that was “different” was incredibly at home in
Paris. She was crowned the next generation’s Josephine Baker for her moves, and
her gusto, because like Josephine she never took herself too seriously; she was
both larger-than-life and somehow, relatable.
In fact, even rapper du jour Cardi B cited her as
inspiration along with Rita Moreno and Maria Montez, “They were all powerful
women who claimed a space for themselves, in an industry that wasn’t exactly
inclusionary,” she told W Mag in 2018.
Her big movie break came in 1959 with the Italian film, “Nel
segno di Roma” (Sign of the Gladiator), starring Anita Ekberg and Georges Marchal.
She had one small dancing role, but her performance stole the show so much
that, for a while, she was featured more prominently on the poster than Ekberg.
Check her and see what we’re dealing with here:
The rest of her film career saw her hopscotching around
from Italian to American films, dancing and acting in adventure films like
1968’s “Le fatiche di Ercole” (Hercules) with Steve Reeves, movies about
pirates, barbarians and the like. Now, mid-century Hollywood is a goldmine for
elaborate, cheesy 7-minute dance number scenes; think Rita Hayworth as the
biblical Salomé, or every single woman in the dance number of 1956’s “Fire
Maidens from Outer Space” (also a movie you need to be watching ASAP). But none
of them looked like Chelo, and that helped set a new precedence for women in
entertainment…
Not to mention, she had some seriously fierce fashion and
beauty moments…
One of Chelo’s big turning points came when Che Guevara
personally “begged her to return to Cuba” once the Revolution had simmered.
She declined, preferring to continue living in Rome,
working in cinema, and adding to her growing repertoire of fiery roles like
Queen Smedes in 1960’s “Maciste nella Valle dei Re” (Son of Samson), or the
Queen of the Huns in “La regina dei tartari” (1960), and even a cameo
(uncredited, what’s the deal?!) in “The Good, the Bad, and the Ugly” (1966).
Once the 1960s were over, she decided to take it easy in
Italy with her husband, Aldo Pomilia, a production manager and producer she met
making an intense film called “Desert War” in 1962. She focused on TV work, a
newfound cat-breeding business, and is currently living the good life in
Tuscany where she operates a four-star hotel in Senese – but for the life of
us, we cannot track it down. Any ideas where Chelo’s luxurious Italian farm
might be?
In the meantime, we’ll leave you with one of her
excellent spaghetti Western’s, one of her last movies from her 10 year career.
True to her “Cuban H-Bomb” moniker, Chelo went out with a bang… “Run, Man, Run”
(1968) opposite fellow Cuban Tomas Milian.
SEM DÚVIDA, UMA MULHER BELÍSSIMA CARREGADA DE SENSUALIDADE.
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