Argentine actress, born in Buenos Aires in 1943, real name María Celina Parrondo.
It was unveiled, at least for the European audience, in a role of cast, but significant dramatic fiber, in the film of Sergio Renán the Truce (1974), a folkloric comedy that was a breath of fresh air and that digging in the contradictions of Argentine urban society that would soon explode, and would be stifled, by the vidalista dictatorship. The same year, and under the direction of who had been cast in that film, Lautaro Murúa, Marilina Ross teammate has established itself as an actress of versatile temperament, some chaplinesca, thanks to La Raulito lineage. The script was based on real events: the painful experience of a girl who grew up in a family of alcoholics and disturbed and, to confront life, chose to disguise with traits and male clothing to break with that past sick and face reality from a new perspective.But when came you this great success--really, the role of your life-Marilina Ross was formed as a complete actress. He/She had developed a serious learning in the great schools of interpretation of Buenos Aires, which enabled him to start his career in the theatre - where he/she worked in various companies, until he/she got his first film shot on the orders of the most prestigious director of his country, Leopoldo Torre Nilssonin the keyhole (1964), a film starring Stathis Giallelis and Janet Margolin.Mientras his personality is hold in the theatre, it continued to do small roles in cinema, with directors such as: Fernando Ayala (Hotel accommodation, 1966) and Luis García Berlanga (boutique, 1968), but after his personal triumph in La Raulito starred in what would be the last work of its "discoverer" film, Torre Nilsson, Piedra Libre (1975), and, the same year, the film, José María Paolantonio.Reasons of a political nature, but also of type strategic to take advantage of the echo that had obtained in Europe La Raulito, boosted Marilina Ross (and creator of the success, Lautaro Murúa) to settle in Spain, and although the first joint experience in their country of adoption was not satisfactory - La Raulito released-, allowed that each of them could develop a fruitful and ongoing interpretative activity.Marilina acted in the same year (1977) in two very different from Gonzalo Suárezfilms: Parranda, "competing" in murky tear with Charo López, and Queen carrot, Úrsula Alejandra Nicholson, the owner of that Empire horticultural, embodying a character light and fun. He/She completely changed his registration in at the service of Spanish women (1978), of Jaime de Armiñán, in the skin of a frustrated provincial broadcaster of a sentimental clinic. His two latest films in Spain, soldiers (1979), Alfonso Ungría, and man of fashion (1980), Fernando Méndez-Leite, meant not only the farewell of the country that had welcomed his exile, but almost its disappearance of cinema screens. On his return to Argentina he/she did television, returned to join the Buenos Aires Theater stages, and was gradually moving away also tables, since he/she devoted himself mainly to song, field in which became a true star of tango.
1964: The keyhole. 1966: hotel accommodation. 1968: The boutique / piranhas. 1974: the truce; La Raulito. 1975: Stone free; The film; La Raulito released. 1977: Parranda; Queen carrot. 1978: in the service of Spanish women. 1979: Soldados.1980: man of fashion.