Actress Libertad Leblanc, famous for her exuberant physique since the decade of 1960, when she appeared as Isabel Sarli's blonde competitor, and whose films had international reach, died at 83 years in his home in the Buenos Aires neighborhood of Palermo.

This sad news was announced by the Argentine Association of Actors, which in its statement extended its “condolences to your daughter, family and loved ones”.

Born in Guardia Miter, in the province of Río Negro, in 1938, Libertad María de los Ángeles Vichich had along with her dazzling beauty an indomitable and precociously feminist character, Well, although she was married to important businessmen, it was always she who managed her career and defended her professional work.

Away from artistic activity for decades - her last appearance before the cameras was in “Fury on the island” (1978)-, he closely followed the distribution of his films abroad and used to show himself on the social train in numerous theatrical premieres, always surrounded by personal friends and admirers.

In recent months he had been suffering from a delicate health condition that was complicated by heart and kidney difficulties, in addition to a beginning of Alzheimer's, so with the advent of the coronavirus pandemic, his daughter Leonor Barujel-Vichich, kinesiologist and resident in Switzerland, had made him build an area of ​​sanitary protection.

According to his relatives, Last March she had been admitted to the Rivadavia Hospital for severe pneumonia, although the decline in his health began during a trip to Spain in 2018, What did he do to sell an apartment of his property?.

There he suffered a heart condition and when he returned it was noticed that his health was not the same; although he started medical treatment “she looked very down, spent a lot of time in bed and started with early Alzheimer's”, reported the journalist Adela Montes, intimate friend of the star to a specialized medium.

His only daughter, fruit of her marriage with the remembered theater entrepreneur Leonardo Barujel, lives in Switzerland with her children and her husband, and for known health reasons he could not get a ticket to be with his mother in these dramatic moments and had to organize the funeral from Europe.

Freedom was one of the great sexual myths of Argentines and millions of people around the world; only she set her rules and declared that she could show her naked body because it was “handsome” and that it was not considered a “sex object”.

She enjoyed knowing that she was the object of desire for men and women as well and declared that the excitement she could provoke from the screen or even in her theatrical presentations was an incentive for women “fantasies” that couples elaborated in their privacy.

“There are people who have never accepted that although I am a woman with a pair of impressive tits, I also think and opine -he noted in an interview, in which he was empowered before premises that appeared later-: Feminism is social equality: the same remuneration, the same right to enjoyment and to think of oneself as a whole human being”.

Some time, very young, at a Cannes festival, did what he called “an intuitive market study, home” and while journalism made a note to Graciela Borges next to a pool, she got on the trampoline with a tiny polka dot bikini and diverted the attention of those present.

The effect fell like an atomic bomb; all the newspapers talked about the matter and so, almost out of nowhere, could access the role of “The Irupé flower”, in which he competed with Sarli to appear in absolute nudity.

His figure had begun to be popular through photonovelas, a graphic genre that was all the rage at the end of the decade of 1950 and it consisted of a kind of comics that replaced the drawings with photographs; many figures, actresses and actors who later became famous in film and TV started like this.

Following her debut with a minor role in “The boat, the river and the people” (1960), the award-winning film by Enrique Cahen Salaberry in Mar del Plata, Libertad dazzled with her physique in the aforementioned”The Irupé flower” (1962), by Alberto Dubois, in couple with Héctor Pellegrini, followed by “Witness for a crime” (1963), by Emilio Vieyra, with José María Langlais.

His filmography continued with “Harassed” (1964), also with Dubois although with Venezuelan actors and whose international distribution had the intentional title of “The Pink Pussy: Where Sin Lives”; “Maria M.” (1964), by Vieyra; “A woman without price” (1966), shot in Puerto Rico by Alfredo B. Crevenna; and the unpublished “The Cursed Venus” (1966), by Adolfo García Videla, with Guillermo Murray.

Without the additional publicity of Armando Bo and Isabel Sarli's disputes with local censorship, Leblanc ignored those circumstances and when his films were questioned in Argentina, he exploited them in less punctilious places: Mexico, Brazil, Panama, Uruguay and the Latin market in the United States.

Other of his titles were “The accomplice” Y “Fire in the blood”, by the Mexican René Cardona Jr, “Bare skin”, Directed and co-starred by Spanish Jorge Mistral, all of 1966, “The dog” (1967), by Emilio Gómez Muriel, with Julio Alemán and Carlos López Moctezuma, all mexican.

With different directors and casts he also shot “When men talk about women”, by Fernando Ayala, Y “Six days to die” (1967), “Psexoanálisis”, Hector Olivera, “Slave of desire”, “The satanic”, “Madame Lulù's house”, “4 against crime”, with a script by Gabriel García Márquez, all of 1968, Y “Deliciously amoral” (1969), among other.

Those movies varied so much genre - comedies, dramas, sexual violence- as quality, and not all directors had the same aesthetic concepts: so in some cases viewers complained that the star did not appear nude enough. (TELAM)