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Victims of Sin (1951)
"Víctimas del pecado" (original title)

7.5
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Ratings: 7.5/10 from 130 users  
Reviews: 5 user | 2 critic

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.

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Title: Victims of Sin (1951)

Victims of Sin (1951) on IMDb 7.5/10

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Cast

Complete credited cast:
Ninón Sevilla ...
Violeta
Tito Junco ...
Santiago
Rodolfo Acosta ...
Rodolfo
Rita Montaner ...
Rita
Ismael Pérez ...
Juanito (as Poncianito)
Margarita Ceballos ...
Rosa
Arturo Soto Rangel ...
Director de prisión
Francisco Reiguera ...
Don Gonzalo
Lupe Carriles ...
Doña Longina, portera (as Guadalupe Carriles)
Jorge Treviño ...
Vendedor de zapatos
Pedro Vargas ...
Cantante
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Storyline

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 <cimas@sinfo.net>

Plot Summary | Add Synopsis


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Details

Country:

Language:

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Release Date:

2 February 1951 (Mexico)  »

Also Known As:

Quartier interdit  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Featured in Cinema de Lágrimas (1995) See more »

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User Reviews

 
Almost tops "Aventurera" -- But not quite!
4 August 2009 | by See all my reviews

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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