Mercedes (Marga Lopez) dances for money with the clients of Salon Mexico, a famous cabaret in Mexico City. Her younger sister Beatriz (Derbez) studies in an expensive private school, paid ... See full summary »
In Xochimilco 1909, María Candelaria and Lorenzo Rafael long for getting married but the odds are against them. Maria Candelaria is segregated for being a prostitute's child and the couple ... See full summary »
Dolores del Rio,
Quino is a Mexican diver who discovers a pearl at the bottom of the sea. He and his wife Juana, and their son have just taken possession of a pearl that is worth thousands. Everyday people ... See full summary »
María Elena Marqués,
Left alone after her mother runs off with another man and her father kills himself, Elena attempts to make a new life for herself in a new city. Believing he's a friend, Elena goes to ... See full summary »
During Mexican Revolution, Rosalio Mendoza (Del Diestro) survives by making and winning favors from both factions, the governmental forces and Zapata's Army. His hacienda welcomes everybody... See full summary »
Juan Bustillo Oro,
Fernando de Fuentes
Alfredo del Diestro,
Antonio R. Frausto
Rosario (Palma) becomes a prostitute after losing her father and discovering her boyfriend had a liaison with another woman. In Veracruz, Rosario lives above a sordid cabaret "selling her ... See full summary »
Raphael J. Sevilla
Late 19th century. The young miss Julie lives in a mansion with her father. She has recently broken her engagement but is attracted to one of the servants, Jean. They spend the midsummer ... See full summary »
In México City, a Cuban dancer from "Cabaret Changó" rescues a baby from a garbage can and decides to raise him, but her pachuco pimp gets in her way. Written by
Edgar Soberón Torchia <email@example.com>
Immediately after "Aventurera", Ninon Sevilla was top-billed in "Victimas del pecado" (1950). Powerfully directed and co-written by Emilio Fernandez, here is a movie that almost tops its predecessor in noir ambiance and gritty effects. Particularly striking is the use of black smoke from passing trains to color Junco's cabaret which is literally located on the wrong side of the tracks. Our old friend, Rodolfo Acosta, gives his most chilling portrayal ever as the unscrupulous heavy whose flamboyant style is neatly contrasted by expressionless yet charismatic Tito Junco. Sevilla, of course, is once again in her element as the swirling dancer with a heart of gold, although Fernandez has obviously ensured that the musical numbers are more realistically presented. In fact, even the obligatory song by Pedro Vargas is better integrated into the narrative (even though introduced by an unlikely fanfare what is Vargas doing in such a low dive? Slumming? And how come he brought his full orchestra with him?) and Vargas himself is much less stiff than usual. And, as might be expected, Figueroa's low-key photography is a stand-out, as are the gloriously cavernous, seedy sets designed by Manuel Fontanals. In the support cast, Rita Montaner is delightfully over-the-top (the sub-titles are rather bland compared to what she actually says), while Poncianito makes his shoeshine boy as solidly believable as Margarita Ceballos enacts her pitifully weak Rosa and Francisco Reiguera his squalidly hawkish yet often ineffective manager.
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