Ana María Orozco is at ease returning to her most iconic role: Betty, la fea

by

1

As a huge fan of the original “Yo soy Betty, la fea” (I am Betty, the ugly one) telenovela, I was both excited and apprehensive about the reboot. Having grown up with Betty’s story, I felt deeply connected to her character and the lessons she imparted about self-acceptance, resilience, and perseverance.

Approximately 25 years after its initial broadcast, “Yo Soy Betty, la Fea” (I Am Ugly Betty) returns with a sequel titled “Betty, la Fea: La Historia Continúa,” which translates to “the story continues.” Debuting on Prime Video this Friday, the show intends to strike a balance between honoring its past achievements and introducing fresh elements. The Colombian telenovela, renowned for its global success, will challenge its beloved character Betty to confront the new realities of life that deviate from the satisfying conclusion she once experienced.

In the scripts of the telenovela, Betty Pinzón Solano, portrayed by Ana María Orozco, was not typically the lead character in romantic, grandiose storylines. True to the show’s name, she was often mocked and referred to as “fea,” which translates to “ugly.”

At Ecomoda, a Colombian fashion firm known for celebrating elegance and chicness, this humble secretary stood out. Her hair was greasily tangled and wavy with bangs, and she donned braces. Her red glasses had thick frames. She preferred shapeless skirts and matching drab cardigans. Her laugh, punctuated by frequent hiccups, resembled an unattractive croaking frog. In the vibrant world of Ecomoda, where beauty reigned supreme, this secretary was a noticeable misfit, even an eyesore. Adding to her unusual situation was her infatuation with the company’s charismatic and self-assured CEO, Armando (Jorge Enrique Abello). Thus, the stage was set for a captivating modern telenovela heroine.

In 1999, Fernando Gaitán brought a fresh and daring concept to life with “Yo Soy Betty, la Fea.” Known for penning the hit series “Café con Aroma de Mujer,” Gaitán combined elements of a classic screwball comedy and a traditional telenovela. By doing so, he challenged the norms of both genres, introducing an unprecedented protagonist and diverse cast of characters. Among them were an openly gay designer, a group of “ugly” secretaries, and manipulative upper-level executives.

“During that period, his works were like a deep insight into society,” Orozco shared with The Times over the phone in Spanish. “His characters had a relatability that made them universal. He possessed a keen eye for the world around him, and I believe he successfully portrayed the heart of an untouched topic in typical soap operas. With his wit and humor, he ventured into territories seldom explored.”

thanks to Orozco’s impressive, multi-dimensional portrayal, Betty exhibited an intriguing mix of cartoonish and grounded qualities. She effortlessly adapted to both the physical comedy and the emotional depth of various storylines. Unique to her character, she remained true to herself – intelligent, determined, and often indifferent to others’ perceptions. Neither a sad sack nor a mere jester, Betty reigned supreme as the undisputed leading lady. The audience craved such a complex protagonist, leaving them deeply satisfied with her portrayal.

In Colombia during the late 1990s and early 2000s, RCN network’s hit weekly telenovela “Yo Soy Betty, la Fea” was a cultural phenomenon. For those growing up in Bogota at that time, it was impossible to avoid. The show became the topic of daily conversation, a must-see for TV viewers. At its peak, nearly 70% of Colombian television audiences tuned in, equating to around 25 million viewers. So popular was the show that RCN even broadcast episodes on the radio for commuters driving home who didn’t want to miss out. In recognition of its impact, Semana magazine, Colombia’s leading publication, named Betty the “Character of the Year” in 2000. The series and its lead actress were showered with awards.

Betty was an extraordinary figure in her household. However, her popularity soared when the telenovela was sold for international broadcast, attracting countless fans as it aired in various regions and became accessible through streaming platforms. Even after concluding its broadcast in 2001, the show continued to gain new followers through spin-offs, animated adaptations, over 20 international remakes – including “Ugly Betty” on ABC – and a 2017 stage production featuring the original cast.

For Orozco, who was 27 when the show ended after 335 episodes, the success was dizzying.

After we halted filming, she admitted, “I was rather stunned by the experience.” She additionally acknowledged feeling drained since they had been putting in 18-hour workdays, six days a week for close to two years. Moreover, she confessed to being frightened about the future. “What’s next for me?” she wondered. “Everyone seemed to desire Betty, but I yearned for something more. I desired a career in acting. Yet, that apprehension eventually subsided.”

I’m excited ahead of the upcoming premiere of “Betty, la Fea: La Historia Continúa,” as I get ready to revisit my beloved creation, Betty. I’m giving myself permission to fully embody her iconic traits while adding a fresh, contemporary spin. This version of Betty is familiar and dear to us all, but I’m guiding her into an exciting new era.

In the promotional material for the remake of the popular telenovela, viewers may observe a change: Orozco now dons Betty’s iconic red glasses and wavy hair. The elegant swan-like character who won Armando’s heart with her sleek hairstyle, frameless spectacles, and pastel clothing is no longer present. Marta Betoldi, one of the series creators alongside Juan Carlos Pérez and César Betancur, finds this transformation an intriguing aspect of revisiting Betty in 2024.

The Argentine author explained to The Times during a Zoom call in Spanish, “Betty isn’t an exact duplicate, but she remains the same person. Twenty years have passed, and she is now a mother. She has lived with Armando for two decades and experienced the #MeToo movement, leading her to reevaluate her own intimacies and relationships, just like many of us did. I felt Betty deserved this transformation.”

Betoldi and Orozco saw an opportunity to help Betty discover herself anew through the creation of this new series. The environment stays consistent, as it continues to be a comedy centered around a fashion house. Majority of the original cast members have returned, including Julian Arango portraying Hugo once again, the snide and effeminate designer who revels in teasing Betty, and Natalia Ramirez, now an ambitious Ecomoda shareholder and former fiancée of Armando.

Betty appears lost in her once comfortable surroundings. Currently, she’s going through a divorce with Armando and has relinquished her role as leader of Ecomoda, which still faces financial instability. Her relationship with her adult (and seemingly arrogant) daughter is strained. Essentially, the fairy-tale ending that defined the series finale in 2001 no longer holds true.

This process is meant not to undo the actions of Gaitán, who passed away in 2019, but rather to honor and carry on the legacy of what he initiated.

“If Gaitán hadn’t created her character with such depth and flexibility in his writing, it would have been challenging for us to portray her convincingly in 2024. Somehow, she seems perfectly timely and relevant.”

In today’s world, I find myself drawn to reexamining Betty, shares Orozco. With both of us having aged, it felt fresh to create a tale that resonated with current times. I didn’t intend to remake or delve back into the past, but rather explore something new while preserving Betty’s essence. This was crucial for me: to innovate without sacrificing her authenticity.

Orozco embraced the opportunity – particularly when it came to revamping Betty’s appearance for the 2024 version of the show. In a pivotal scene from the premiere episode, we witness a clash of two Betty versions. In her childhood bedroom at her father’s house, Betty revisits her past by rereading her old diary entries about her early days at Ecomoda. These recollections are taken directly from the original soap opera, with Orozco’s young voice narrating the transition between then and now, signified by altering aspect ratios. As she reflects on the past, current Betty makes a bold move. Impulsively, she chops off her long hair, dons her old thick-rimmed glasses, and unearths her old wardrobe.

I can relate to the significance of revisiting that perspective, it’s like discovering myself anew.

The challenges Betty faced in the past might have been the most difficult part of her project. Now, it seems that society has finally embraced the unique aspects of Betty’s style that once made her feel self-conscious. Her outfits, accessories, and natural hair, which were once considered unfashionable or unconventional, are now trendy and appreciated by many. When Betty’s young adult daughter, an aspiring designer, sees Betty wearing her old look, she no longer criticizes her mother’s appearance. Instead, she teasingly accuses Betty of trying to be hipster.

I. Fans eagerly anticipate the comeback of beloved character Betty, hoping for an experience as inspiring as it was for actor Orozco in bringing to life her deeply emotional portrayal of a figure who has always seemed larger-than-life.

“I’ve had the pleasure of not having to compete with Betty,” Orozco quips. “She’s one-of-a-kind, large and unique in her own way. Her specialness and rarity in an actor’s career are well-known to me. These days, we’re more like friends. She’s been by my side through thick and thin, imparting valuable lessons along the way. It’s all been a wonderful experience.”

In Spanish, it seems more suitable for her to say that. Orozco contrasts Betty’s description with the phrase she chooses, which is the opposite in this new series. She labels it as “very pretty,” “cute,” or “beautiful.”

Read More

2024-07-19 13:33