Mario Moreno (1911 - 1993)

A photo of Mario Moreno
Mario Moreno
1911 - 1993
August 12, 1911
Mexico City, CDMX Mexico
April 20, 1993
Mexico City, CDMX Mexico
Other Names
Mario Moreno was born on August 12, 1911 in Mexico City, CDMX Mexico. He died on April 20, 1993 in Mexico City, CDMX Mexico at 81 years of age.
Updated: January 31, 2020
Mario Fortino Alfonso Moreno Reyes, known casually as Mario Moreno, and known professionally as Cantinflas (12 August 1911 – 20 April 1993) Mario Moreno Reyes ('Cantinflas'), actor: born Mexico City 12 August 1911; married (one adopted son); died Mexico City 20 April 1993. CANTINFLAS was one of the most famous men in the world in the late 1950s. Like many another, he was famous for being famous. This wasn't his fault. He had the good luck to be in a hugely popular Academy Award-winning movie, and with his bowler hat, wing collar, incipient moustache and quizzical expression there was no one quite like him - which is reason enough for fame in the movies. He had been extraordinarily popular in his native Mexico and other Latin American countries since making his film debut in 1936; he had been a prizefighter, a comic bullfighter and a circus clown. In movies the combination of pathos and slapstick had a wide appeal. He usually made one film a year and such was his popularity that the government learnt to close the pawnshops on the day his films opened. All the same, no one predicted international fame for him until Mike Todd cast him as the valet Passepartout in Around the World in 80 Days (1956), accompanying Phineas Fogg on his travels. Todd was a flamboyant - the adjective was always used - showman, with a vivid personal way of life and several indifferent Broadway credits. In 1945 Orson Welles asked him to produce a dramatised version of the Jules Verne novel. Todd withdrew, claiming that he had no more money, but the book continued to fascinate him, and he chose it for his first venture as a movie producer. It looked a very dodgy one: he had huge ambition but no experience, and his British director, Michael Anderson, though more than capable, had not worked on a big-budget Hollywood movie. The leading man, David Niven, had once been a leading Hollywood star, but the offers had become either lean or few and far between. Todd decided to back him with an all-star cast in the minor roles, going first to Noel Coward on the assumption that, if Coward assented, everyone else would. They did: from Ronald Colman to Marlene Dietrich, from Beatrice Lillie to John Gielgud. As well as Fernandel. Fernandel had been in movies longer than Cantinflas, but it was thought that he, too, had a local appeal which wouldn't travel: but Le Petit Monde de Don Camillo (1952) changed that. Many others of his French movies were successfully exported, so that Todd begged him to play Passepartout. Fernandel declined, saying that his English wasn't good enough. Todd looked at some of Cantinflas's comic cut-ups and offered him the role. He made a great success in it - mischievous, cunning, and wholly devoted to his master. The film's success ensured Cantinflas a niche among movie immortals. Charlie Chaplin called him 'the world's greatest comedian', doubtless because he knew that Cantinflas was called 'Mexico's Charlie Chaplin'. While several Hollywood studios planned star vehicles for him, he returned to Mexico and made, among other films, Sube y Baja (1959, 'Ups and Downs'). This arrived in Britain early in 1961, supporting Carne's Les Tricheurs at one of the lesser art cinemas in London. It was an ingenuous but trying piece, with Cantinflas as a lift attendant who impersonates a famous athlete. He was himself - as he had not been in Mike Todd's film - trousers braced too high, double- jointed, an innocent, reminiscent of Harry Langdon or Harold Lloyd's early screen persona. Both he and the film went unremarked - which was not a good augury for the actor's big Hollywood film. This was Pepe (1960), produced and directed at Columbia by George Sidney, with Dan Dailey and Shirley Jones as supporting cast, plus just about everyone in cameo roles - Crosby, Chevalier, Sinatra, Greer Garson, Jack Lemmon, Kim Novak etc. Cantinflas played a Mexican ranch foreman who has adventures in Hollywood, all of them witless and cliche-ridden. Hollywood didn't give Cantinflas another chance. It really wasn't his fault. Someone should have realised at the start that his English simply wasn't up to sustaining the leading role. He continued to film in Mexico, his popularity growing with the years, and he became immensely wealthy - it was a wealth he shared with many charities and the Church.
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Mario Moreno
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Mario Moreno
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Mario Moreno was born on in Mexico City, CDMX Mexico
Mario Moreno died on in Mexico City, CDMX Mexico
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Cantinflas is sometimes seen as a Mexican Groucho Marx character, one who uses his skill with words to puncture the pretensions of the wealthy and powerful, the police and the government. Historian and author of Cantinflas and the Chaos of Mexican Modernity, writes, "Cantinflas symbolized the underdog who triumphed through trickery over more powerful opponents" and presents Cantinflas as a self-image of a transitional Mexico. Gregorio Luke, executive director of the Museum of Latin American Art said, "To understand Cantinflas is to understand what happened in Mexico during the last century".[13][26] Monsiváis interprets Moreno's portrayals in terms of the importance of the spoken word in the context of Mexico's "reigning illiteracy" (70% in 1930). Particularly in the film El analfabeto, (The Illiterate), "Cantinflas is the illiterate who takes control of the language by whatever means he can".[27] The journalist Salvador Novo interprets the role of Moreno's character entirely in terms of Cantinflismo: "En condensarlos: en entregar a la saludable carcajada del pueblo la esencia demagógica de su vacuo confusionismo, estriba el mérito y se asegura la gloria de este hijo cazurro de la ciudad ladina y burlona de México, que es 'Cantinflas'". ("In condensing them [the leaders of the world and of Mexico], in returning to the healthy laughter of the people the demagogic essence of their empty confusion, merit is sustained and glory is ensured for the self-contained son of the Spanish-speaking mocker of Mexico, who Cantinflas portrays.")[28] In his biography of the comic, scholar of Mexican culture Jeffrey M. Pilcher views Cantinflas as a metaphor for "the chaos of Mexican modernity", a modernity that was just out of reach for the majority of Mexicans: "His nonsense language eloquently expressed the contradictions of modernity as 'the palpitating moment of everything that wants to be that which it cannot be'."[29] Likewise, "Social hierarchies, speech patterns, ethnic identities, and masculine forms of behavior all crumbled before his chaotic humor, to be reformulated in revolutionary new ways."[30] Filmography Cinema of the United States Year Director Film Role 1956 Michael Anderson Around the World in 80 Days Passepartout 1960 George Sidney Pepe Pepe 1969 Norman Foster The Great Sex War General Marcos Cinema of Mexico Year Director Film Role 1936 Miguel Contreras Torres No te engañes corazón — 1937 Arcady Boytler ¡Así es mi tierra! El Tejón 1937 Arcady Boytler Heads or Tails Polito Sol 1939 Chano Urueta El signo de la muerte Cantinflas 1939 Fernando Rivera Siempre listo en las tinieblas (short) Chencho Albondigon 1939 Fernando Rivera Jengibre contra Dinamita (short) Cantinflas 1940 Fernando Rivera Cantinflas boxeador (short) Cantinflas 1940 Juan Bustillo Oro Here's the Point Cantinflas / "Leonardo del Paso" 1940 Carlos Toussaint Cantinflas y su prima (short) Cantinflas 1940 Fernando Rivera Cantinflas ruletero (short) Cantinflas 1941 Alejandro Galindo Neither Blood Nor Sand El Chato / Manuel Márquez "Manolete" 1941 Miguel M. Delgado The Unknown Policeman Badge Number 777 1942 Carlos Villatoro Carnaval en el trópico Cameo 1942 Miguel M. Delgado The Three Musketeers Cantinflas / D'Artagnan 1943 Miguel M. Delgado The Circus Cantinflas 1943 Miguel M. Delgado Romeo y Julieta Romeo de Montesco 1944 Miguel M. Delgado Gran Hotel Cantinflas 1945 Miguel M. Delgado A Day with the Devil Juan Pérez 1946 Miguel M. Delgado I Am a Fugitive Cantinflas 1947 Miguel M. Delgado ¡A volar joven! Cantinflas 1948 Miguel M. Delgado The Genius Cantinflas 1949 Miguel M. Delgado The Magician Cantinflas 1950 Miguel M. Delgado Puerta, joven (El Portero) El Portero 1951 Miguel M. Delgado Lluvia de estrellas Cantinflas 1951 Miguel M. Delgado El siete machos Margarito 1952 Miguel M. Delgado Si yo fuera diputado Cantinflas 1952 Miguel M. Delgado The Atomic Fireman Agente 777 1953 Miguel M. Delgado The Photographer Cantinflas 1954 Miguel M. Delgado Caballero a la medida Cantinflas 1955 Miguel M. Delgado Abajo el telón Cantinflas 1957 Miguel M. Delgado El bolero de Raquel El Bolero 1958 Tulio Demicheli Ama a tu prójimo Luis 1959 Miguel M. Delgado Sube y baja El falso Jorge Masiel 1961 Miguel M. Delgado El analfabeto Inocencio Prieto y Calvo 1962 Miguel M. Delgado El extra Rogaciano 1963 Miguel M. Delgado Entrega inmediata Feliciano Calloso 1964 Miguel M. Delgado El padrecito Sebastián 1965 Miguel M. Delgado El señor doctor Salvador Medina 1966 Miguel M. Delgado Su excelencia Lopitos 1968 Miguel M. Delgado Por mis pistolas Fidencio Barrenillo 1969 Miguel M. Delgado Un Quijote sin mancha Justo Leal, Aventado 1970 Miguel M. Delgado El profe Sócrates García 1972 Roberto Gavaldón Don Quijote cabalga de nuevo Sancho Panza 1973 Miguel M. Delgado Conserje en condominio Úrsulo 1975 Miguel M. Delgado El ministro y yo Mateo Melgarejo 1978 Miguel M. Delgado El patrullero 777 Diógenes Bravo 1981 Miguel M. Delgado El barrendero Napoleón Awards and nominations Year Award Category Film Outcome 1952 Ariel Awards[31] Special Ariel Won 1987 Golden Ariel Won 1957 Golden Globe Awards[32] Best Performance by an Actor in a Motion Picture - Comedy or Musical Around the World in 80 Days Won 1961 Pepe Nominated 1961 Laurel Awards Top Male Comedy Performance Nominated 1962 Menorah Awards[33] Best Comic Actor El analfabeto Won

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One of the best comical actors in the world. Academy Award winner.
Jun 14, 2018  ·  Reply

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Mario Moreno passed away on April 20, 1993 in Mexico City, CDMX Mexico at age 81. He was born on August 12, 1911 in Mexico City, CDMX Mexico. There is no information about Mario's surviving family.

Refresh this page to see various historical events that occurred during Mario's lifetime.

In 1911, in the year that Mario Moreno was born, the first Indianapolis 500 was run in May. Ray Harroun was the winner - he was an engineer and had retired from racing but he came back for this race. After the race, he retired for good. The purse was $27,550 - the largest offered up to that time - and Harroun received $10,000 for first place. His average time was 74.602 mph.

In 1927, at the age of 16 years old, Mario was alive when the first "talkie" (a movie with music, songs, and talking), The Jazz Singer, was released. Al Jolson starred as a cantor's son who instead of following in his father's footsteps as expected, becomes a singer of popular songs. Banished by his father, they reconcile on his father's deathbed. It was a tear-jerker and audiences went wild - especially when they heard the songs. Thus begun the demise of silent films and the rise of "talkies".

In 1966, he was 55 years old when on July 1st, Medicare became available after President Johnson signed into law the Medicare Act in 1965. President Truman had received the first Medicare card since he had been the first to propose national healthcare law. insurance.

In 1978, at the age of 67 years old, Mario was alive when on July 25th, Louise Brown, the first "test-tube baby", was born at Oldham Hospital in London. Louise was conceived through IVF (in vitro fertilization), a controversial and experimental procedure at the time.

In 1993, in the year of Mario Moreno's passing, on February 26th, a truck bomb exploded in the garage under the North Tower of the World Trade Center. While the bomb didn't do what was planned (collapse the North Tower into the South Tower), it did kill six people and injured thousands of people.

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