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 Gabor's ashes were laid to rest
in a prominent cemetery in the capital city
alongside other famous Hungarian actors, writers
and poets, in a ceremony where a gypsy band
played and her favourite yellow and pink roses
were on display.
Born Sari Gabor into a wealthy Hungarian family,
she was named Miss Hungary in the 1930s. As
World War Two approached, she and her sisters
headed for the United States, leaving behind her
first husband, Burhan Belge, a Turkish diplomat.
Her last husband, Frederic Prinz von Anhalt, to
whom she was married from 1986 until her death
aged 99 in 2016, said that in her will she
expressed a wish to end up in Hungary.
Von Anhalt said he carried an urn with
three-quarters of Gabor's ashes to London, then
to Germany and from there to Budapest, using a
window of opportunity as border closures due to
the coronavirus pandemic eased.
He said the rest of her remains would stay in
Los Angeles.
"She was first class, she had her own seat and
she had her passport, everything there. It was
her last trip, she always used to go first
class, she had her champagne, caviar..."
"And then we arrived in Budapest ... That's what
she wanted and that's what she had in her last
will. She definitely wanted to be in Budapest
because her father is buried here too," he told
Reuters.
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 Von Anhalt said Gabor wanted "a
celebration of life, not a funeral."
Gabor's Hungarian cousin, Jozsef Gabor, who was
close to her, said he had not been invited to
Tuesday's ceremony. For him, Zsa
Zsa was a "Hungarian girl" in the United States.
"She did a lot for Hungarians, be it for those
who fled after the 1956 uprising, or during the
polio epidemic, and she did not do those things
because she wanted to get into the news," he
added.
Gabor, one of the last stars of Hollywood's
golden age, would address people as "dah-link"
in her thick Hungarian accent. Along with her
two sisters, Eva and Magda, she became a fixture
on Hollywood's social circuit in her prime.
Zsa Zsa Gabor appeared in more than 30 movies,
including "Moulin Rouge" in 1952 and "Lili" in
1953. By the 1970s she began to reject smaller
roles, saying: "I may be a character but I do
not want to be a character actress."
(Writing by Krisztina Than; Editing by Mike
Collett-White)
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