Televisa proves once again that it is the premier producer of novelas de epoca with this colonial period story starring the sexy and popular Fernando Colunga and Lucero, who make a beautiful screen couple.
The story begins with Luis Manrique y Arellano's arrival in Santa Rita and his arrest for a crime he could not have committed. When he escapes from the prison in the middle of the night he is caught crossing the Guzman property, where the patrona, Doña Adelaida, holds him hostage until he has sexual relations with her daughter-in-law with the objective of making her pregnant. María Hipólita had been mildly drugged and until she hears Luis' voice she is under the impression that her husband has finally recovered his health to exercise his marital duties (there is a superficial resemblance between the two men). She is horrified the following morning to learn the rumors of her husband's homosexuality and her horror is compounded by her mother-in-law's threat to have her locked up in a madhouse if she refuses to cooperate. Her husband, Antonio, is willing to have the marriage annulled if she is not pregnant; however if she is the marriage would continue because the child would be his guarantee of an inheritance.
As soon as Hipólita learns she is pregnant she and her maid escape and over the next two years work their way to Mexico in the hope of finding the father of her little boy. Luis is married to Esperanza who is unable to bear children and who also regards sexual relations as the ultimate sin. She claims to have seen visions of the Virgin Mary who tells her she will bear a child, but no one believes her (with good reason; the viewer will automatically realize she is mental). They live with Luis' widowed mother, aunt, and cousin in a mansion that is more like a viper's nest. Doña Juana is a despotic woman who attempts to run the lives of everyone around her. Diego, the cousin, is no better and in fact is the person whose bribe led to Luis' arrest. When Maria Hipólita arrives in Veracruz, Diego develops dishonorable intentions toward her and evil intentions toward the child. Luis, who had never stopped thinking about her, recognizes her and wants her in his life. However, Hipólita's evil and controlling stepfather is equally determined to prevent her finding any happiness, just as he has made her mother miserable while Doña Juana will do anything to get her hands on the child for reasons of her own.
A great story, worthy of Kathleen Woodiwiss or Virginia Henley, and populated by excellent actors. Fernando Colunga is in his element as the noble and heroic Luis. Lucero is a perfect match as Hipólita, who is both feminine and strong (I am so glad this isn't Aracely Arambula, as originally reported). Daniela Romo is in fine form as the tyrannical Doña Juana, aided and abetted by Manuel Ojeda as Francisco Escobar, the evil stepfather. Ernesto LaGuardia is on hand as Cristobal, the pre-ordained priest who begins to doubt his vocation just on the eve of meeting Catalina, the unwilling novice who falls in love with him at first sight. Iran Castillo is the perfect actress for this role. The adorable Valentino Lanus portrays the innocent and idealistic Martin Alvarado, a role usually assigned to Pablo Montero. Mariana Garza is the delusional Esperanza and Luis R. Guzman completes the lineup at the reptilian Diego.
As usual, the production values are first-rate, with numerous outdoor scenes and beautiful interior sets. While the women's costumes and hairstyles are fairly consistent with what would have been worn by wealthy women and their servants during this period, the men's costumes and hair are somewhat less accurate: Luis and Diego should be clean-shaven and have the "Brutus cut" popular in Europe during this period. They probably also should be wearing Hessian boots, as opposed to the bucket-topped style popular during the Three Musketeers' time.
That is easily forgotten, however, when Fernando Colunga doffs his puffy shirt. In this series more than any he's done so far, he belongs on a book cover.
The story begins with Luis Manrique y Arellano's arrival in Santa Rita and his arrest for a crime he could not have committed. When he escapes from the prison in the middle of the night he is caught crossing the Guzman property, where the patrona, Doña Adelaida, holds him hostage until he has sexual relations with her daughter-in-law with the objective of making her pregnant. María Hipólita had been mildly drugged and until she hears Luis' voice she is under the impression that her husband has finally recovered his health to exercise his marital duties (there is a superficial resemblance between the two men). She is horrified the following morning to learn the rumors of her husband's homosexuality and her horror is compounded by her mother-in-law's threat to have her locked up in a madhouse if she refuses to cooperate. Her husband, Antonio, is willing to have the marriage annulled if she is not pregnant; however if she is the marriage would continue because the child would be his guarantee of an inheritance.
As soon as Hipólita learns she is pregnant she and her maid escape and over the next two years work their way to Mexico in the hope of finding the father of her little boy. Luis is married to Esperanza who is unable to bear children and who also regards sexual relations as the ultimate sin. She claims to have seen visions of the Virgin Mary who tells her she will bear a child, but no one believes her (with good reason; the viewer will automatically realize she is mental). They live with Luis' widowed mother, aunt, and cousin in a mansion that is more like a viper's nest. Doña Juana is a despotic woman who attempts to run the lives of everyone around her. Diego, the cousin, is no better and in fact is the person whose bribe led to Luis' arrest. When Maria Hipólita arrives in Veracruz, Diego develops dishonorable intentions toward her and evil intentions toward the child. Luis, who had never stopped thinking about her, recognizes her and wants her in his life. However, Hipólita's evil and controlling stepfather is equally determined to prevent her finding any happiness, just as he has made her mother miserable while Doña Juana will do anything to get her hands on the child for reasons of her own.
A great story, worthy of Kathleen Woodiwiss or Virginia Henley, and populated by excellent actors. Fernando Colunga is in his element as the noble and heroic Luis. Lucero is a perfect match as Hipólita, who is both feminine and strong (I am so glad this isn't Aracely Arambula, as originally reported). Daniela Romo is in fine form as the tyrannical Doña Juana, aided and abetted by Manuel Ojeda as Francisco Escobar, the evil stepfather. Ernesto LaGuardia is on hand as Cristobal, the pre-ordained priest who begins to doubt his vocation just on the eve of meeting Catalina, the unwilling novice who falls in love with him at first sight. Iran Castillo is the perfect actress for this role. The adorable Valentino Lanus portrays the innocent and idealistic Martin Alvarado, a role usually assigned to Pablo Montero. Mariana Garza is the delusional Esperanza and Luis R. Guzman completes the lineup at the reptilian Diego.
As usual, the production values are first-rate, with numerous outdoor scenes and beautiful interior sets. While the women's costumes and hairstyles are fairly consistent with what would have been worn by wealthy women and their servants during this period, the men's costumes and hair are somewhat less accurate: Luis and Diego should be clean-shaven and have the "Brutus cut" popular in Europe during this period. They probably also should be wearing Hessian boots, as opposed to the bucket-topped style popular during the Three Musketeers' time.
That is easily forgotten, however, when Fernando Colunga doffs his puffy shirt. In this series more than any he's done so far, he belongs on a book cover.