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A rare spearhead of the Mexican Noir
Trevisand1 July 2017
In "La noche avanza" there are no good or decent characters. There are only anti-heroes and self-assumed victims who do not hesitate a second to become perpetrators to take revenge on their own perpetrators: jealous, liars or possessive women, dangerously self-destructive; And men whose maximum value is opportunism. There is no trait of kindness here, only facets of selfishness. Considering the improbability of this happening (not only in Mexican cinema of that time but in cinema in general), La noche avanza has a spectacular and quirky freshness.

In addition, the frenzy accelerates as the night advances. Quite a few scenes from the second half of this film could be considered even pre- tarantinescan. So far the best movie I've found of the so-called Mexican Noir and the second best of the director Roberto Gavaldón (after Macario, 1960).
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The Night Advances
JohnSeal15 October 2016
Warning: Spoilers
Colour me surprised that this made-in-Mexico drama hasn't garnered any reviews until now. Directed by Roberto Gavaldon, the film stars Pedro Armendariz as Marcos, a professional jai alai player undefeated on the court in 26 matches. The super confident Marcos has acquired a Trumpian disdain for weak losers, including a fellow player who suffers a fracture as a result of Marcos' carelessness. When he's not dominating his opponents, he's trying to balance his relationships with several women, including recently widowed old flame Sara (Anita Blanch), nightclub thrush Lucrecia (Eva Martino), and mother-to-be (uh oh!) Rebeca (Rebeca Iturbide). Marcos promises to wed Rebeca without telling her he's about to leave Mexico permanently, setting in motion a plot by Rebeca's brother Armando (Carlos Muzquiz) to blackmail the first class heel while also getting out of his debt to gambler Marcial (Jose Ma. Linares Rivas). A potent blend of soap, intrigue and jai alai action, La Noche Avanza is virtually unknown in the United States but is well worth tracking down.
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