In one of the last interviews given by Lucía Bosé , there is a statement that, read from now on, even impresses. The blue-haired actress told the magazine ' Vanity Fair ' that the last time she renewed her ID, the man from the police station joked in her own way: "Since you are immortal, what expiration date do you want me to put on it?" And she also responded in her own way: "He put me on January 1, 9999 ... So I'm officially immortal . " And there he left it. And despite everything, he was not without reason.

This Monday the Actors Management Society of which she was a member with number 2,265 confirmed that Lucía Bosé has died in Brieva (Segovia). The actress who debuted with Dino Risi and who together with Michelangelo Antonioni lived her best and first moments in the profession was 89 years old.

Mother of Miguel Bosé and Paola Dominguín , she married the bullfighter Luis Miguel Dominguín in 1955. In Spain, in addition to the obviousness of their marriage, she was known and recognized for her work with Juan Antonio Bardem in ' Death of a cyclist ', and with Luis Buñuel in ' Así es la Aurora' .

There's another scary quote that comes right below. It's an ironic, funny comment ... but, right now, even gloomy. "I hate the Spanish kiss! I detest it! Everyone kisses you and shakes you. In summer it is uncomfortable because you die of heat. In winter it is dangerous because you can catch the flu. This is what I realized when I arrived in Spain with the bullfighter. We never kissed. I was a pretty cold woman, but he was even colder. The men are not very affectionate and the bullfighters even less. " And there, again, he left it. The fact that death is precisely, as several media have confirmed later, by coronavirus , gives the innocent phrase a new meaning. Much sadder. And cruel.


Going over his filmography is quite similar to going through all the new Italian cinema and part of any other in its widest extension. And yet, whenever he had occasion, he declared and confessed in passing. Nothing went with it. And from there, perhaps, the long pauses away from the cameras despite everything, despite recognition, despite fame, despite the same glory.

The fact that her first major role was in the hands of Michelangelo Antonioni's debut marked her. Yes, the Italian filmography of the pause and the void runs from Monica Vitti, but only she was given the privilege of embodying the first of her stark heroines, at the limit of all abysses, in 'Chronicle of a love ' (1950). When she later gave life to Clara Manni in ' The Lady of the Camellias' , it could well be said that her fate was cast. There was something of her in each gesture of that woman deeply disappointed in the world of cinema that has given her everything and nothing is enough for her.

In 1955, a key year where they exist, everything changed again for the shop assistant who, one day in 1947, was Miss Italy. Then he knows Spain as no one could ever know it. She marries the fashionable bullfighter, Luis Miguel Dominguín, and does so first in Las Vegas and then at the altar. On the other altar. And that's when the new cinema from there starts to star in the new one here. Her role in 'Death of a Cyclist ' suddenly makes her a muse of everything different , of everything to come. That at the same time that it is she who gives the blessing, let's say it, to a Luis Buñuel who recently landed in France after his Mexican 'exile'. 'Thus is the dawn' is the film and, rushing, the umpteenth consecration.

And all this, while his life began to be the center of almost everything. Miguel Bosé (like her) and her daughters Lucía and Paola Dominguín are the beginning of the saga that would come right next. And behind them, ten more grandchildren, including the model and as muse as Bimba Bosé herself , who died in 2017 .

Whatever it is, it took him a while to get back to the movies. But when he did, he was deprived of absolutely nothing. Neither Fellini , with whom he would collaborate in ' Satiricón ' (1969), nor the Taviani brothers (with them he would do ' Under the sign of the scorpion') nor the most accelerated and sourly modern of the always cryptic and always revolutionary School of Barcelona. '' Nocturno 29 ' , by Pere Portabella, is directly the precipice of all precipices, the sign of authenticity and risk that an interpreter needs to become something else: a pure myth with blue hair. From this period, they are roles such as those offered to Liliana Cavani in ' L'ospite' and Margueritte Duras in 'Nathalie Granger' . Her and Basilo Martín Patino in 'Del amor y otros soledades' . All of them are powerful, introspective works and always on the edge. Feminism by the hand of the previous ones and their role in, why not, 'Mrs. Garcia Confesses ', by Adolfo Marsillach, could well be this. The same or herself.

He tells of the innumerable chronicle, the rose and the blue, that would come after he took refuge in the Segovian town of Brieva and that he met the angels there. Figuratively and perfectly real (he collected them). And there, without a doubt and by the lyric, he agreed with eternity. And in that, despite pandemics and DNIs, it continues.

According to the criteria of The Trust Project

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