she was only in her mid 40s) but Roldán replied, saying "Sara is an actress, and actresses don't have an age". For the screen test, Sara García had a wig made for her. At the time of the screen test, the director asked the crew of her whereabouts and when they answered that she was the woman in front of him, the director was shocked: Her wig, lack of teeth, and performance had touched him. It is in Fernando de Fuentes' Allá en el trópico where Sara García won her title of la Abuelita de México (Mexico's Grandmother). In 1942, Sara García co-starred with Joaquín Pardavé in El baisano Jalil, a comedy film in which she portrayed the wife of a Lebanese-immigrant family, one of the marginalized communities that settled in the La Lagunilla neighborhood of Mexico City. She starred again with Pardavé in a similar comedy, El barchante Neguib (1945). She then started a long series of films, co-starring with the brightest stars of the Mexican cinema, such as Cantinflas, Jorge Negrete, Germán Valdés "Tin-Tan". She often starred as the grandmother of famous Mexican actor Pedro Infante. Her most remembered film with him is the 1947 Los tres García where she also starred alongside Abel Salazar and Víctor Manuel Mendoza, playing the role of their grandmother with a strong, naughty and authoritarian attitude. 1947–1980: Multiple films, Telenovelas and final works García continued working with Pardave and appeared with him on El ropavejero "The junkman" (1947) and in Azahares para tu boda "Orange blossoms for your wedding" (1950), which were her last jobs with him. Garcia's nature was also deeply irreverent, and she showed it in films like Doña Clarines (1951), in which she makes fun of her grandmother's character, something she repeated in Las señoritas Vivanco "The Misses Vivanco" (1959) and in El proceso de las señoritas Vivanco "The process of the Misses Vivanco" (1961), in both she acted with Prudencia Grifell and was directed by Mauricio de la Serna. In that decade she worked in both film and television, appearing in multiple soap operas such as "A Face in the Past" (1960), "La gloria Quedo atrás" (1962), and "La Duchess" (1966), in which a lottery ticket seller wins the jackpot and uses that money to get her daughter back, whom she had given up to her millionaire in-laws in the past. In that decade we also saw her