In this near-noir by actor Arturo de Córdova's frequent director Roberto Gavaldón, millionaire Antonio Ituarte (de Córdova) gives his wife an unusual wedding gift: a life-sized statue of a ... See full summary »
In the village of Fuentecilla, there is a medicinal spa which was very popular in the past but that now has been forgotten by the public. In order to bring back the tourists, the "prominent... See full summary »
Luis García Berlanga
In this near-noir by actor Arturo de Córdova's frequent director Roberto Gavaldón, millionaire Antonio Ituarte (de Córdova) gives his wife an unusual wedding gift: a life-sized statue of a kneeling, nude woman-secretly modeled by his lover, Raquel (María Félix). When the mistress demands that Antonio leave his wife, to whom misfortune then befalls, Antonio becomes the very figure of the tormented reprobate-both inflamed and disgusted by his obsession with Raquel. Written by
In the remake released under the title "Hotel Danubio", the mask arrangement in Carlos' room ends with a picture of red fish, most probably as an allusion to the original film. The line when Hugo speaks about the red fish turning around in a fishing bowl was completely omitted, so the picture in Carlos' room is the only reference to the original production. The end is also different in both films, as "Los Peces Rojos" closes with detectives waiting for Hugo at the Police car, while "Hotel Danubio" goes on with a dialog between the two policemen, followed by camera moving to the beach where some men (apparently morning joggers) are seen running along the beach. Then we find out that they were running towards a man who has drowned, and whose corpse lies on the beach. A puzzling ending, for sure.
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