IMDb > The Kneeling Goddess (1947)

The Kneeling Goddess (1947) More at IMDbPro »La diosa arrodillada (original title)

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Edmundo Báez (collaboration)
Alfredo B. Crevenna (collaboration)
View company contact information for The Kneeling Goddess on IMDbPro.
Release Date:
13 August 1947 (Mexico) See more »
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. | Add synopsis »
Daily | “Mexico at Midnight”
 (From Keyframe. 23 July 2015, 5:55 AM, PDT)

User Reviews:
Steamy ! See more (2 total) »


  (in credits order) (complete, awaiting verification)

María Félix ... Raquel Serrano

Arturo de Córdova ... Antonio Ituarte
Rosario Granados ... Elena (as Charito Granados)

Fortunio Bonanova ... 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
rest of cast listed alphabetically:
José Arratia ... (uncredited)
Adolfo Ballano Bueno ... (uncredited)
Fernando Casanova ... Empleado juzgado (uncredited)
Ana María Hernández ... Invitada a fiesta (uncredited)
Miguel Ángel López ... Joven mensajero (uncredited)
José Muñoz ... Detective policía (uncredited)
Juan Orraca ... Detective (uncredited)
Manuel Pozos ... José (uncredited)
Félix Samper ... Asociado en mesa redonda (uncredited)
Juan Villegas ... Empleado de Antonio (uncredited)

Directed by
Roberto Gavaldón 
Writing credits
(in alphabetical order)
Edmundo Báez  collaboration
Alfredo B. Crevenna  collaboration
Tito Davison  screenplay
Ladislas Fodor  story
Roberto Gavaldón  adaptation
José Revueltas  adaptation

Produced by
Rodolfo Lowenthal .... executive producer
Jack Wagner .... producer (uncredited)
Original Music by
Rodolfo Halffter 
Cinematography by
Alex Phillips 
Film Editing by
Charles L. Kimball 
Casting by
Carlos Falomir 
Production Design by
Manuel Fontanals 
Costume Design by
Lilian Oppenheim  (as L. Oppenheim)
Makeup Department
Esperanza Gómez .... hair stylist
Sara Mateos .... makeup artist
Production Management
Jorge Cardeña .... production chief (as Jorge Cedeña)
Luis Cortés .... production manager
Second Unit Director or Assistant Director
Ignacio Villareal .... assistant director (as Ignacio Villarreal)
Art Department
Ernesto Cabral .... poster artist (uncredited)
Sound Department
Nicolás de la Rosa .... sound recordist (as Nicholas de la Rosa Jr.)
James L. Fields .... sound director
Galdino R. Samperio .... sound re-recordist
Camera and Electrical Department
Rosalío Solano .... camera operator
Manuel Álvarez Bravo .... still photographer
Costume and Wardrobe Department
Aurora Máinez .... wardrobe
Editorial Department
Raul J. Casso .... assistant editor
Music Department
Agustín Lara .... composer: songs
Galdino R. Samperio .... music recordist (as G. Samperio)
Other crew
Adolfo Ballano Bueno .... production assistant (as A. Ballano Bueno)
Estrella .... staff
Humberto Gavaldón .... script supervisor
Mari Jinishian .... choreographer
Eduardo Mendoza .... titles (as E. Mendoza)

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"La diosa arrodillada" - Mexico (original title)
See more »
107 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:

Did You Know?

Movie Connections:
Featured in Cinema of Tears (1995) (TV)See more »


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3 out of 3 people found the following review useful.
Steamy !, 28 July 2015
Author: eventpix from florida

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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