official of Azteca Films noticed her curiosity and invited her to participate in what would be her first film En defensa Propia "In self-defense" (1917). After that she began auditioning in the theater where she started getting small roles. Her diction and voice gave her prestige and she became part of the most outstanding companies of that time: Mercedes Navarro, Prudencia Grifell and the sisters Anita and Isabelita Blanch. In one of her tours throughout the Mexican Republic, she met Fernando Ibáñez, whom she had seen during the filming of "La soñadora" (1917). 1918–1947: Golden Age of Mexican cinema and La Abuelita de México In 1918, she married Fernando Ibáñez. They toured throughout Mexico and Central America, until at a stop in Tepic, she gave birth to a girl, whom they named Fernanda Mercedes Ibáñez García. Sara decided to take care of her daughter, and stopped touring. Her absence bothered Fernando, who began to get involved in several affairs, then became entangled with the head of the company. Sara divorced her husband and left with her daughter. Years later her ex-husband became sick, and returned home. Sara cared for him, even paying his expenses, until his death in 1932. Established firmly in the theater, she began to be called to work in the cinema. Her daughter Fernanda also ventured into the cinema with the movie "La madrina del diablo" (1937) in which she played Jorge Negrete's girlfriend. Outside the sets, Negrete courted her, though Sara disapproved. The romance ended abruptly and the following year (1938) Fernanda married the engineer Mariano Velasco Mújica, leaving to live in Ciudad Valles, Tamaulipas. A little more than two years later Fernanda became ill with typhoid fever and died on October 17, 1940. Due to her strong personality Sara survived her daughter 40 years. García would later continue her extensive career in film and sacrificed her beauty when she decided, at the age of 40, to have her teeth removed so that her mouth would look like that of an older woman. She thought that thus she would be able to star as self-sacrificing ladies and better personify the roles they gave her. Film actress Emma Roldán suggested Sara García for the role of Doña Panchita, an old woman, in the 1940 film Allá en el trópico ("There in the Tropics"). The film's director Fernando de Fuentes considered García too young for the part (indeed