"I want [Dolores] del Rio and [Joel] McCrea in a South Sea romance. Just give me three wonderful love scenes. I don't care what story you use so long as we call it Bird of Paradise and del Rio jumps into a flaming volcano at the finish," commanded legendary Hollywood producer David O. Selznick in 1932. His comments reflect most of the opportunities Tinseltown gave Mexico's beautiful del Rio (1905-83), the first Hispanic actress to become a star in America, albeit for only a few years.

Born into a wealthy family, she was the cousin of gay Ramon Novarro, whose popularity as a silent screen Latin Lover rivaled that of the gay Rudolph Valentino. At 16, Dolores Martinez Asunsolo y Lopez Negrete married banker Jaime del Rio. A few years later, director Edwin Carewe, struck by her beauty, brought her to Hollywood. She became a star as Charmaine in the silent What Price Glory? (1926), inspiring a popular song. Other silent hits followed, notably Ramona (28), based on a bestselling novel. Despite her accent, she survived the transition to talkies. Bird of Paradise was a success, and she was top billed in Flying Down to Rio (33), the first screen pairing of Fred Astaire and Ginger Rogers. She danced at The Wonder Bar, starring Al Jolson, and was a gorgeous Madame du Barry (34). The quality and frequency of her films declined, however, and she tired of playing �exotics." Despite a good part in Journey Into Fear (43), she left Hollywood to work in her homeland. Her decision coincided with the Golden Age of Mexican Cinema, and she became a major star throughout the Spanish-speaking world. Her movies also played in American cities with large Latin populations. One of her most celebrated films, 1946's La Otra (The Other One), is available in DVD, although it's not subtitled.

In La Otra, del Rio plays estranged identical twins. One, Magdalena, is rich, having married well. The other, Maria, is a manicurist. They are reunited at the lavish funeral of Magdalena's husband. Maria is bitter because her sister stole him from her many years earlier. Magdalena wants to forget the past. Callously, she offers Maria some of her fashionable dresses, because they will be passe by the time she's out of mourning. She also promises limited financial help. It's clear she's hardly the grieving widow. Maria rejects her overtures, and leaves.

Deeply troubled, Maria impulsively quits her job on Christmas Eve. She buys a present for her loving boyfriend, Roberto (Agustin Irusta), a policeman. They exchange gifts, but she's distant. They part tenderly, and Maria goes home to her small apartment. She calls Magdalena, and demands to see her. While waiting, Maria plots her revenge. When Magdalena arrives, Maria vents her anger. She shoots Magdalena, exchanges their clothes and jewels, and leaves a suicide note, signed Maria. She returns to the mansion, assuming her widowed sister's identity.

Initially guilt-ridden and frightened, Maria slowly adjusts to her new life. She's astonished and touched to learn that her brother-in-law had left her a substantial sum. She would have been wealthy without having murdered her sister. Emerging from mourning, she hosts a glamorous party for her society friends. A confidante ushers her in to the library, then leaves her alone with Fernando (Victor Junco), whom Maria discovers was Magdalena's lover. He's been away, but now wants to resume their relationship. Maria eventually learns that Magdalena, eager to marry Fernando, murdered her husband. Fernando blackmails her into giving him money and a very valuable painting. The painting, however, was bequeathed to the national museum. One of the policemen investigating its disappearance is Roberto. The melodramatically-played ending is ironic.

If the story sounds familiar, it's because in 1964, Warners filmed it as Dead Ringer, starring Bette Davis, a last-minute replacement for Lana Turner. The Hollywood version is an almost scene-by-scene duplicate of the original. While Davis was a better actress than del Rio, she was too old for the part. Peter Lawford played her lover, and looked disturbingly youthful in their scenes.

Del Rio was seldom accused of acting. In big moments, she widens her eyes wide and sighs. Nonetheless, she dominates La Otra in ways a better actress wouldn't, and makes Magdalena and Maria distinct characters. She moves with the assurance of a star who knows the camera loves her. Wearing gorgeous outfits, del Rio descends the mansion's curved staircase like a goddess approaching worshipers. Such scenes made her enormously popular with women, and gave her a Joan Crawford-like following among contemporary Hispanic gay men.

Her success in Mexico elicited offers from Tinseltown, some of which she accepted, including John Ford's The Fugitive (47), co-starring Henry Fonda. She played Elvis Presley's mother in Flaming Star (60) and still looked stunning in Ford's Cheyenne Autumn (64). In the 1950s, she occasionally appeared on television to play �sophisticated, worldly women." In 1970, she guested on Marcus Welby. Her last movie was The Children of Sanchez (78), an American production co-starring countrymen Anthony Quinn and Katy Jurado. Her stylish home in Mexico City was photographed by Architectural Digest. Although Hollywood failed to use her properly, del Rio proved she could have a remarkable career on her own terms. La Otra shows exactly why she succeeded.