Corrido' (1964). Rodrigues appeared in Carlos Vilardebó's 1964 arthouse film The Enchanted Islands based on a short story by Herman Melville. Her 1965 recording of poems by 16th century poet Luís de Camões generated acres of newspaper polemics. Her 1968 single Vou dar de beber à dor broke all sales records and her 1970 album Com que voz won a number of international awards. Having been given Portugal's Film Award for Best Actress for 'Fado' in 1947, once again she was awarded as Portugal's Best Film Actress in 1965, in a movie where she didn't sing. In between she performed in other genres: she recorded some of her old songs with an orchestra, recorded an album with jazz saxophonist Don Byas 'Encontro' (1968), and recorded an album of American songs with Norrie Paramor's orchestra, 'Amália On Broadway' which includes a rendition of 'Summertime', 'The Nearness of You'. An important album in the 1960s was 'Com Que Voz', (1969), reprising many of her successes and adding a few more, all poems by Portuguese-speaking poets, and music by Alain Oulman. Rodrigues was at the height of her vocal and performing powers during the 1960s. The later years In the 1970s, Rodrigues concentrated on live concert performances. During the post-25 April 1974 period, she was falsely accused of being a covert agent of the PIDE; this unjust charge triggered a severe bout of depression on her part. While Salazar had been Prime Minister, Rodrigues had been a financial supporter of the Portuguese Communist Party. At the same time she had occasionally expressed some admiration for Salazar himself, reportedly writing love letters to Salazar when he was hospitalized in 1968. Despite the government's heavy promotion of Rodrigues as a national symbol of Portugal, in private, Salazar hated Fado and Rodrigues (whom he referred to as "that creature"), considering its central concept of 'saudade' (nostalgia or a painful yearning for the past) as anti-modern and "has a softening influence on the Portuguese character", one that "sapped all energy from the soul and led to inertia". From the 1970s Rodrigues enjoyed particularly marked success in Italy and Japan. She recorded an album of Italian traditional songs, A Una Terra Che Amo (1973), and made versions of her own songs in Italian. She recorded live performances in an album called Amália in Italia (1978). Her return to the recording studio with Portuguese material came in 1977 with