Rafael Durán Espayaldo was born in Madrid on 15 December, 1911.

He tried to pursue a military career, wanting to join the Navy, but was unsuccessful. Then he started Engineering studies, but left them for show business. He worked first as dancer then meritorio (extra) in theatre plays (1932), going from modest companies to those of Irene López Heredia and Gonzalo Delgrás-Margarita Robles. There he met Estrellita Castro, his future costar in the picture that was to be the first for both, Rosario la cortijera (1935), a drama set in a bull-breeding background.

During the Spanish Civil War he fought with the National (Franco's) side, joining the Falange and thus being in an advantaged political position in post-war industry. His distinctive voice, with a strong clear diction, also brought him to dubbing pictures for Metro-Goldwyn-Mayer Acústica studio, managed by Delgrás. There he was the Spanish voice for Cary Grant. As he also had good looks and a martial air, Delgrás offered him a role in his picture La tonta del bote (1939), where he was paired with Josita Hernán. From his first picture he had significant roles, soon becoming one of the main leading men of Spanish postwar cinema. "La tonta del bote" became so successful that he and Josita would team together in several pictures afterwards, also partnering in a theatrical company.

During the 40s he acted in comedies and dramas with equal success, co-starring with the main actresses of the time : Lina Yegros (Un marido a precio fijo (1942), Luchy Soto (Tuvo la culpa Adán (1944), Marta Santaolalla (Mosquita en palacio (1943) and Amparo Rivelles among them. With Amparo Rivelles he made two of the most popular pictures of the decade, the comedy Eloísa está debajo de un almendro (1943) and Pedro Antonio de Alarcón's heavy costume drama The Nail (1944). They would repeat a similar style in La fe (1947), pertaining to the religious genre. Another of his leading ladies was Conchita Montes in another successful comedy, La vida en un hilo (1945). In fact he was teamed with practically every main actress of the period, like Paola Barbara in one more Alarcón's story, The Prodigal Woman (1946). For this performance he was given the Motion Picture Writer's (Círculo de Escritores Cinematográficos) award. He got married and had a daughter. In 1949 he and Joaquín Luis Romero Marchent founded Intercontinental Films Productions. In the 50s he slowly backed to supporting roles, but worked regularly and remained popular with audiences.

His roles were usually commanding and energetic, and his serious air made him equally good in comedy and drama. Not to forget the typical Spanish genre of those times, historical pictures like Jeromín (1953) (where he starred with dramatic actress Ana Mariscal). In the 50s another genre was gaining prominence, crime pictures, known as cine policíaco (detective stories, Spanish noir). Durán would add them to his already wide repertory, and would make several good ones. Like the Portuguese coproduction Três Espelhos (1947), or the interesting newspaper multi-story Séptima página (1951) where he had the connecting role.

In 1965 he retired from acting. He died peacefully in Seville on 12 February 1994 of cancer.

He had a good timing for comedy, a polished looks and firm voice, and a characteristic gesture of raising one brow which, along with his style of acting and dubbing precedent, won him the familiar name of "The Spanish Cary Grant".

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Rafael Durán

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