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La diosa arrodillada (1947)

A artist model who leads the ever hapless Arturo de Córdova away from the arms of his innocent, blue-eyed wife and down, down, down into the ecstatic depths of degradation which include a stop at seedy Panamanian nightclub.

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(collaboration), (collaboration) | 4 more credits »
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Cast

Complete credited cast:
...
...
Rosario Granados ...
Elena (as Charito Granados)
...
Nacho Gutiérrez
Carlos Martínez Baena ...
Esteban (as Carlos M. Baena)
Rafael Alcayde ...
Demetrio
Eduardo Casado ...
Licenciado Jiménez
Luis Mussot ...
Dr. Vidaurri
Carlos Villarías ...
Juez
Natalia Gentil Arcos ...
María
Paco Martínez ...
Villarreal
Rogelio Fernández ...
Marinero
Alfredo Varela padre ...
Juez registro civil
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Storyline

A artist model who leads the ever hapless Arturo de Córdova away from the arms of his innocent, blue-eyed wife and down, down, down into the ecstatic depths of degradation which include a stop at seedy Panamanian nightclub.

Plot Summary | Add Synopsis

Genres:

Crime | Drama | Mystery

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Details

Country:

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Release Date:

13 August 1947 (Mexico)  »

Also Known As:

A Deusa Ajoelhada  »

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Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Connections

Featured in Cinema de Lágrimas (1995) See more »

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User Reviews

 
Steamy !
28 July 2015 | by (florida) – See all my reviews

I saw a beautifully restored print of this yesterday at the Museum Of Modern Art, NYC. The theater was totally full but this was something of a pot boiler and I'm not sure what the cineastes thought of it. At least they could put it on their list. Not being a film fanatic I was just curious to see how a 'serious' Mexican film from that era might look. I must say the production values were very good indeed. Amazing sets and wardrobe and complex camera angels. María Félix could compete with any of the Hollywood divas. It was interesting that some of her gowns featured horizontal stripes which were apparently designed to make her more 'broad' of hip and bust. She looked great, but not exactly by modern American standards.

The movie reminded me of "Gilda", which IMDb dates from the year before, but not as neatly put together. It seemed to me that there might have been a rational and organized plot lurking beneath all the confusion but when I thought about it I realized that such a plot would have been a bit trite and contrived and ultimately boring so why not gussy it up a bit. At one point a servant fills some screen time lighting a fire and then a bit later we have a shot from inside the fireplace, through the flames and into the room. Don't see that every day! Actually, for me the most memorable setup was a shot from the garden with the naked derrière of the kneeling goddess statue in the foreground. Behind, through French doors into the dining room, we can see Félix sitting at the far end of a long table, alone and still. The front of a car pulls up in a driveway on the right side of the frame, its light go out, the door slams and then, after a moment we see Córdova, inside, walking across the foyer, far behind her. A great shot which contributes almost nothing to the telling of the story.

So between this, and Lady from Shanghai (also 1947) and Gilda I would choose Rita and Glenn. To my taste Glenn is cuter than Orson or Arturo, Rita actually had me convinced that I was straight for a day, and as much as I admire Agustin Lara, Put the Blame on Mame is a better song than the one featured in this film. But I suggest that you see all three and decide for yourself!


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