Delia Fiallo, the famous soap opera writer and scriptwriter passed away yesterday at the age of 96.
The so-called ‘mother of the novel’ died peacefully and surrounded by her family, according to her daughter, without giving further details about her death.
Born in Cuba, thanks to her outstanding literary works, Delia Fiallo became one of the maximum representatives of the contemporary rose novel, achieving that her stories were adapted in different parts of the world, among which Mexico, Argentina, Puerto Rico, Colombia, Peru and the United States, for titles such as ‘Esmeralda’ and ‘El privilegio de amar’.
In our country the name of Fiallo stood out thanks to the adaptations that Televisa made of stories such as’ Esmeralda ‘,’ Mariana de la noche ‘,’ A refuge for love ‘,’ The one who could not love ‘,’ Peregrina ‘,’ Sea of love ‘,’ The privilege of loving ‘, Topaz and ‘Luz María’, a telenovela that was recorded in Lima in the nineties with Christian Meier and Angie Cepeda as protagonists.
In one of the last interviews that the writer gave to the Spanish newspaper El Mundo, in September 2020, she accepted that, as a good anti-Castro Cuban, she wanted Donald Trump to win the presidency of the United States again.
In the same conversation, Fiallo referred to the boom in Turkish soap operas in Latin America in recent years, and that they had managed to dethrone the Mexican ones. “Turkish soap operas have been very well received by Latin audiences because they are very similar to the traditional ones we are used to. They have come to vindicate the genre ”, he said.
A genre that was defined in its master lines in Mexico, which became more visceral in the projection of feelings with the Venezuelan soap opera – until Hugo Chávez arrived and production was stopped; “Chávez was not interested in the soap opera,” Delia says nonchalantly, and that since then has continued alternating two lines, one more disruptive and modernizing, and another with a more traditional spirit. Fiallo defended, above all, the usual telenovela, in contrast to recent productions –especially Mexican– that seek to incorporate action and a political agenda, including a feminist angle, due to the influence of TV from the United States.
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