| Hugo del Carril | ... | Pablo Fontán | |
| Esther Fernández | ... | Isabel | |
| Carlos Perelli | ... | Esteban | |
| Ana Arneodo | |||
| Chola Oses | |||
| César Fiaschi | ... | Esteban | |
| Ana Gryn | |||
| Lautaro Murúa | |||
| Julio Esbrez | |||
| Lily del Carril | |||
| Lilia Castilla | |||
| María Castilla | |||
| Arturo González | |||
| Domingo Sapelli | |||
| Justo Ugarte |
Directed by | |||
| Hugo del Carril | |||
Writing credits(in alphabetical order) | ||
| Eduardo Borrás | ||
| Hermann Sudermann | novel "Frau Sorge" | |
Produced by | |||
| Celestino Anzuola | .... | producer | |
| Hugo del Carril | .... | producer | |
Original Music by | |||
| Alejandro Gutiérrez del Barrio | |||
| Tito Ribero | |||
Cinematography by | |||
| Bob Roberts | |||
| Oren W. Roberts | |||
Film Editing by | |||
| Carlos Rinaldi | |||
Production Design by | |||
| Carlos Godefroy | |||
| Gori Muñoz | |||
Sound Department | |||
| German Szulem | .... | sound | |
Camera and Electrical Department | |||
| Carmelo Lobótrico | .... | camera operator | |
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| El negro que tenía el alma blanca | Dark River | La mujer de mi hermano | Carnival of Crime | Esta tierra es mía |
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| Full cast and crew | Company credits | IMDb Drama section |
| IMDb Argentina section |
Hugo del Carril chose a novel by Herman Suderman, Frau Gorg, and got a superb melodrama. It's quite odd to be able to transvestite Suderman to get a Latinamerican movie but this is the case. Shot in Chile, del Carril shows the viciousness of mainstream life in the XIX century. Some sources say it's a love story but they should go further. The traditional Latinamerican pater familias goes bonkers and ruins his son's efforts to become a decent peasant. On the other hand, this actor, director and singer handle the actors in a paramount way. No doubt he was/is an artist and a sensitive one. Pity that the copy circulating in video is not good enough. What calls the attention is the capacity of this man to exactly pace a movie that risks going downhill at any moment. However, sobriety prevails. It's a good reason to see old Argentine cinema. abel posadas