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La ilusión viaja en tranvía (1954)
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Overview
User Rating:
Release Date:
1954 (USA) morePlot:
Confronted with the unfortunate news that their favorite Streetcar, no. 133, is going to be decommissioned... more | add synopsisPlot Keywords:
User Comments:
Great Mexican Bunuel; A must see comedy moreCast
(Complete credited cast)| Lilia Prado | ... | Lupita | |
| Carlos Navarro | ... | Juan Godinez (nick name Caireles) | |
| Fernando Soto | ... | Tarrajas (as Fernando Soto 'Mantequilla') | |
| Agustín Isunza | ... | Papa Pinillos | |
| Miguel Manzano | ... | Don Manuel | |
| Guillermo Bravo Sosa | ... | Braulio | |
| José Pidal | ... | The Professor (as Jose Pidal) | |
| Felipe Montoya | ... | Mechanician | |
| Javier de la Parra | ... | Traffic chief (as Javier De La Parra) | |
| Paz Villegas | ... | Dona Mechita | |
| Conchita Gentil Arcos | ... | Passenger | |
| Diana Ochoa | ... | Passenger | |
| Víctor Alcocer | ... | Carpenter | |
| Leonor Gómez | ... | Pasajera |
Additional Details
Parents Guide:
Add content advisory for parentsRuntime:
90 min | USA:82 minCountry:
MexicoLanguage:
SpanishColor:
Black and WhiteSound Mix:
MonoCertification:
Finland:SFilming Locations:
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Don't think this is a light film just because it's a comedy made with Mexican actors. There are many layers here and much clever satire not only on the Mexican society of that period but (as always with Bunuel) human behavior in general. The ironic detachment of the director is never so far as to render these characters unrealistic caricatures; far from it, they're as fully real as anything in 'Los Olvidados,' except here things are examined from a much less cynical angle. Comedy is, after all, the flipside of tragedy and if comedy sells better, you only run the risk of being misunderstood by most of the audience on a very superficial level; on a deeper level even the commonest comedy fan implicitly gets the message. This film is in many ways similar in its structure and tone (and on a deeper level even in subject matter) to Alexander Payne's 'Citizen Ruth' and 'Election' or Todd Solondz's 'Welcome to the Dollhouse.' Except here, Bunuel shows less 'cruelty' than in most of his other films; here he tries his hand at an homage to certain great American comedies of the '30s and '40s which managed to use comic misadventures to veil serious messages underneath. The difference is that Bunuel consciously planned and fully intended this result whereas the Americans may have just ended up there unexpectedly and unconsciously.