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 »
Cuba, 1850. On a sugar-cane plantation, the master and his wife are happy : they're expecting a child, their slaves are quiet. But tonight, as the full moon rises, the sound of the drums ... See full summary »
Alfredo B. Crevenna
Rosa Elena Durgel
A young woman, abandoned by her womanizing fiancé, is forced to provide for the upbringing of her son and combat the difficulties of being an unmarried mother during the strife of early 20-... See full summary »
Dolores del Rio,
In Mexican Revolution times, a guerrilla general (Armendáriz) and his troops take the conservative town of Cholula, near by Mexico City. As the revolutionaries mistreat the town's riches, ... See full summary »
Jaime Karin is an astrologer, fortune teller and a scam artist, who uses his wife who works in an elegant beauty salon, to find out information on future wealthy clients, through her he ... See full summary »
Arturo de Córdova,
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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