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Daughter of Deceit (1951)
"La hija del engaño" (original title)

 |  Drama  |  29 August 1951 (Mexico)
7.1
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Ratings: 7.1/10 from 354 users  
Reviews: 6 user | 2 critic

After discovering he's being cheated on by his wife María, Quintin kicks her out of the house. Upon leaving, his wife confesses that their daughter Martha is actually not Quintin'd daughter... See full summary »

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(play) (as Don Carlos Arniches) , (adaptation), 2 more credits »
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Title: Daughter of Deceit (1951)

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Cast

Credited cast:
Fernando Soler ...
Quintín Guzmán
Alicia Caro ...
Martha
Fernando Soto ...
Angelito (as Fernando Soto 'Mantequilla')
Rubén Rojo ...
Paco
Nacho Contla ...
El Jonrón
Amparo Garrido ...
Jovita
Lily Aclemar ...
María
Álvaro Matute ...
Julio
Roberto Meyer ...
Lencho García
Conchita Gentil Arcos ...
Toña García
Francisco Ledesma
Rest of cast listed alphabetically:
Xavier Loyá ...
Jugador joven (as Javier Loya)
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Storyline

After discovering he's being cheated on by his wife María, Quintin kicks her out of the house. Upon leaving, his wife confesses that their daughter Martha is actually not Quintin'd daughter. Quintin abandons the child in front of a poor family's house. Ten years after, María is on her death bed, and tells Quintin that Martha is actually his daughter. Quintin must set out and look for his abandoned daughter. Written by Carlos Espinosa

Plot Summary | Add Synopsis

Genres:

Drama

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Details

Country:

Language:

Release Date:

29 August 1951 (Mexico)  »

Also Known As:

Daughter of Deceit  »

Filming Locations:


Company Credits

Production Co:

 »
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Technical Specs

Sound Mix:

(RCA Victor High Fidelity System)

Aspect Ratio:

1.37 : 1
See  »
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Connections

Version of Don Quintin the Bitter (1925) See more »

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User Reviews

Don Quintin in his own Infierno
9 May 2011 | by See all my reviews

This is a minor entry in Bunuel's Mexican period. It's a farce of sorts, that starts as a melodrama and ends up like a screwball comedy. There are some little Bunuel touches here and there, especially in the first half of the picture, but all in all this can't account among Don Luis' most personal films. Technically it is as usual superb. There's one elegant 20 year transition that takes place in the dark between the closing and opening of a cupboard and a puzzling breaking of the fourth wall at the end, when Don Quintin approaches the camera and talks to the audience before going back to the happy ending. I liked the idea of a cabaret called El Infierno decorated with flames and big puppet devils hanging from the roof. Only a man like Bunuel could come with such stuff.


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