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Illusion Travels by Streetcar (1954)
"La ilusión viaja en tranvía" (original title)

 -  Comedy | Adventure | Drama  -  1954 (USA)
7.2
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Ratings: 7.2/10 from 717 users  
Reviews: 10 user | 7 critic

Confronted with the unfortunate news that their favorite Streetcar, no. 133, is going to be decommissioned, two Municipal Transit workers get drunk and decide to "take 'er for one last spin... See full summary »

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Title: Illusion Travels by Streetcar (1954)

Illusion Travels by Streetcar (1954) on IMDb 7.2/10

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Cast

Complete credited cast:
Lilia Prado ...
Lupita
Carlos Navarro ...
Juan Godínez 'Caireles'
Fernando Soto ...
Tobías Hernández 'Tarrajas' (as Fernando Soto 'Mantequilla')
Agustín Isunza ...
Papá Pinillos
Miguel Manzano ...
Don Manuel
Guillermo Bravo Sosa ...
Don braulio
José Pidal ...
El Profesor
Felipe Montoya ...
Mecánico
Javier de la Parra ...
Benítez
Paz Villegas ...
Doña Mechita
Conchita Gentil Arcos ...
Pasajera con santo
Diana Ochoa ...
Maestra del internado
Víctor Alcocer ...
Acaparador de maíz
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Storyline

Confronted with the unfortunate news that their favorite Streetcar, no. 133, is going to be decommissioned, two Municipal Transit workers get drunk and decide to "take 'er for one last spin," as it were. Unfortunately, the "one last spin" ends up being an all-night and all-day scramble to stay out of trouble, as they are confronted with situation after sometimes bizarre situation that prevents them from returning the "borrowed" Streetcar! Written by Mark Toscano <fiddybop@uclink4.berkeley.edu>

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1954 (USA)  »

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Illusion Travels by Streetcar  »

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Great Mexican Bunuel; A must see comedy
24 August 2000 | by (Los Angeles) – See all my reviews

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.


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