The Mexican Film Bulletin The Mexican Film Bulletin
Transcripción
The Mexican Film Bulletin The Mexican Film Bulletin
THE MEXICAN FILM BULLETIN Volume 17 Number 4 (July-August 2011) The Mexican Film Bulletin Volume 17 Number 4 JulyJuly-August 2011 Dutch oil engineer and frequently moved his family around the world. Linda Christian started acting in Hollywood in 1944 and worked in international films and television sporadically throughout the '50s and '60s (plus a few Italian films in the late 1980s), but never appeared in Mexican cinema (although some sources claim she had a bit part in El peñón de las ánimas, filmed in Mexico in 1942; she was also in Tarzan and the Mermaids, a Hollywood film shot in Acapulco and at the Estudios Churubusco). In contrast, her sister Ariadna Welter (born in 1930) had a significant acting career in Mexican cinema. Linda and Ariadna appeared together in the independent Hollywood feature The Devil's Hand. Linda Christian married Tyrone Power in 1949 (earlier, she had been romantically linked with Errol Flynn) and they had two children before divorcing in 1956: Romina Power (who acted in Europe and forged a singing career with her husband) and Taryn Power, who made her acting debut in Mexico in María (1971). In the 1960s, Christian was briefly married to actor Edmund Purdom. Obituaries Lilia Michel Actress Lilia Michel died of heart failure on 10 August 2011. She was 85 years old. Lilia Larios was born in July 1926 in Mexico City and studied acting with Seki Sano before making her screen debut in Naná (1944). She married fellow actor Rafael Baledón that year; they had 5 children. After Baledón's death in 1994, Lilia Michel was briefly married to Wolf Ruvinskis but was widowed once again in 1999. Lilia Michel won two Best Supporting Actress Ariel Awards early in her career, for Un beso en la noche and Vértigo. In the early 1950s, she and Baledón appeared together as husband and wife in Había una vez un marido and Sí, mi vida, two "situation comedy" films. Although Michel was off-screen for most of the '50s and '60s (raising her children, presumably), she returned to films and television in the late 1960s and made her last film appearance in Fuera de la ley (aka Reclusorio II) one of the final trio of star-studded "Reclusorio (Crimen y castigo)" features directed by Ismael Rodríguez in late 1995. Although she subsequently worked on several telenovelas, Michel retired from acting in 1998 and spent her time painting and enjoying her large family. Embarassment of Riches Last month I relocated to my new house, and while I'm still far from unpacked and settled, I've been enjoying (alright, I've been recording for future enjoyment) the offerings of channels "De Película Clásico," "De Película," and several other Spanishlanguage movie channels. Consequently, the percentage of MFB reviews of "classic" Linda Christian Blanca Rosa Welter, better-known as actress Linda Christian, died of cancer on 22 July 2011. Welter was born in Tamaulipas in November 1923; her father was a 1 THE MEXICAN FILM BULLETIN Volume 17 Number 4 (July-August 2011) John Novak--who also worked under the name "John Drake"--was an actor and stage magician who came to Mexico in the 1960s, a relatively good time for foreigners to break into films there. In addition to Hollywood "names" such as Boris Karloff, John Carradine, Cameron Mitchell, Nick Adams, Jeffrey Hunter, Martha Hyer, Shirley Jones, etc., younger gringos and gringas like Elizabeth Campbell, Amadee Chabot, Arthur Hansel, and Roger Cudney found employment south of the border. Novak signed with agent Blanca Estela Limón, who at the time also represented Elizabeth Campbell, Armando Silvestre, Begoña Palacios, Renata Seydel, and Hilda Aguirre. He appeared in and/or directed nearly two dozen commercials, was a featured guest on a number of television programs (showcasing his magic skills), posed for print ads and fotonovelas, and made Las amiguitas de los ricos and then Peligro...mujeres en acción (although his part in the latter film was trimmed drastically when the producers scaled back the production), all before the age of 30. However, as a married man with two children, Novak had responsibilities and the economic situation in Mexico was not bright, even for a multitalented güero leading man-director-stage magician! So, after 8 years in Mexico, the Novicki family relocated to the USA and Jack enrolled in the Germain School of Photography in New York, then began a long career as a commercial photographer. Still active today as a digital document and photo restorer, Jack Novicki lives in New Jersey. [Many thanks to Jack Novicki for providing information about his work in Mexican cinema, and for many of the photos included in this article.] cine mexicano will probably increase in the upcoming months and years. By the way, moving, unpacking, etc., are my main excuses for the lateness of this issue of MFB. A Gringo in Cine Mexicano Some years ago, I received an e-mail from "John Novak," who had appeared in Las amiguitas de los ricos (1967). John Novak, or to be more accurate, Jack Novicki, is now retired and living in New Jersey, and--as so often happens--did not have a copy of the Mexican films he'd worked on. Although I'd seen Las amiguitas de los ricos (it was included in my dissertation about gringos in Mexican cinema), I didn't own a copy at the time (I did have Peligro...mujeres en acción, in which he also appeared). However, 4 years later the film turned up online, and I was able to send Jack a copy. Although a fair number of estadounidenses had careers in Mexican cinema, this was not necessarily an easy life. Just as Latin performers found themselves typecast (at the very least as "foreigners," if not solely as Mexicans or Hispanics) in Hollywood, Anglos were limited to certain roles in Mexican movies. Furthermore, the smaller scope of the Mexican entertainment industry meant less work for everyone, and most particularly for "specialist" performers. To make a living, actors had to (and still do) do films, television, stage plays and/or "variety" theatre, advertisements, fotonovelas, radio, and so on, in addition to whatever non-acting jobs they could find. Las amiguitas de los ricos [The Mistresses of the Rich] (Interfilms, 1967) Dir-Scr: José Díaz Morales; Story/Adapt: Alfredo Varela [Jr.]; "Literary Version": Antonio Vies; Photo: Raúl Domínguez; Music: Enrico C. Cabiati; Theme Song: Irvin [sic] Taylor & Ken Lane ("Everybody Loves Somebody Sometime"); Prod Mgr: Roy M. Fletcher; Asst Dir: Fernando Durán; Film Ed: Federico Landeros; Camera Op: Roberto Jaramillo; Asst 2 THE MEXICAN FILM BULLETIN Volume 17 Number 4 (July-August 2011) alternate takes or added footage). The "C" rating was therefore probably generated by the relatively liberal view towards sexual matters expressed in the films (at least right up until the end of each movie, when conservative mores almost always triumphed). Las amiguitas de los ricos and Mujeres, mujeres, mujeres both went before the cameras in January 1967. The crews were almost identical, and various performers appeared in both movies, although Mujeres, mujeres, mujeres was a multi-story picture with three distinct "episodes" (these being STIC productions) and thus had three different casts. For some reason, Mujeres, mujeres, mujeres was given a "D"--adults only--rating rather than a "C." Las amiguitas de los ricos has two special points of interest: its fantasy content and its stereotypical gringo character (who is rather more prominent and sympathetic than usual). [I might personally add a third point: Fanny Cano, whose mere presence makes a film worth watching, at least in my opinion!] Otherwise, the film suffers from a sloppy, illogical script which splices together its various scenes without much regard for clarity or continuity or chronology (not to mention the usual lapses in common sense which are endemic in melodramas). Example: at some indeterminate point in the past, Nora strolls past a group of university students. One of them, Julio (who says he's "almost an architect"), has just said "the only women worth anything are foreigners." He flirts with Nora and she rejects him coldly, then a street photographer takes a photograph of them. Years (?) later, Julio just happens to be the editor and proprietor of a "lonely hearts club" magazine (what happened to architecture?) and is randomly invited to a Christmas Eve dinner at which Nora is also present. Julio still has the snapshot of them together, how sentimental! However, he becomes convinced Nora is a...let's say, "courtesan," and although he says he "loves" her, he repeatedly (both on and after Christmas Eve, although exactly how much time elapses between their meetings is also unclear) tries to get her into bed, Cam: Antonio Ruiz; Lighting: Rubén Méndez; Makeup: Graciela Muñoz; Recordist: Heinrich Henkel; Asst Rec: Ricardo Saldívar; Union: STIC Cast: Ana Bertha Lepe (Betty), Maricruz Olivier (Lia aka Rosalía), Fanny Cano (Nora), Sara García (Luz Romero), León Michel (Tony Casasús), YuYu (María), Arturo Cobo (Lupito del Vergel), Augusto Benedico (Raimundo), Carlos Cortés (Julio Hernández), John Novak (Richard McDonald), Antonio Raxel (Pedro), Pedro D'Aguillón (Casto González de la Garza), Consuelo Frank (Consuelo, Casto's wife), Federico del Castillo (friend of Julio), Claudia Martell (sexy widow), Elvira Lodi, Roy Fletcher, Roberto Meyer (village priest), Enriqueta Carrasco (Raimundo's wife), Orlando Rodríguez (Santa Claus) Notes: in the late 1960s, a number of Mexican producers began making "adult"-themed films. Adultery, infidelity, homosexuality and other themes were explored, and characters included mistresses, prostitutes, pimps, swingers, newlyweds, etc. René Cardona Jr., José Díaz Morales and others directed performers such as Mauricio Garcés, Enrique Rambal, Silvia Pinal, Ana Bertha Lepe in these pictures, which were in some ways precursors to the fichera genre of the '70s and the sexy-comedies of the '80s. A number of the films were anthologies or at least multicharacter narratives with numerous sub-plots. Examples include Don Juan 67, Siempre hay una primera vez, Un nuevo modo de amar, El día de la boda, El amor y esas cosas, El despertar del lobo, Como pescar marido, Trampas de amor, Mujeres, mujeres, mujeres (there was also a Muchachas, muchachas, muchachas), Click-fotógrafo de modelos, El cuerpazo del delito, etc. One of the most prolific companies making this type of picture was "Interfilms," which produced 18 features in 1967-70 alone. Interfilms was run by Pedro A. Calderón; José Díaz Morales --who had been associated with the Calderón family before, directing some of their notorious, ground-breaking "nude scene" features of the mid-1950s-helmed the majority of the company's movies. Although most if not all of the Interfilms product (released through Columbia Pictures) was rated "C" (roughly equivalent to an "R" in today's MPAA system), overt nudity was not a significant factor, at least in the Mexican versions (it's possible prints intended for international release contained 3 THE MEXICAN FILM BULLETIN Volume 17 Number 4 (July-August 2011) pairs off with Richard, Lía with Tony, and Julio with Nora. Nothing untoward goes on, because only Betty is interested in having sex with her new boyfriend, and before anything can happen between them, Richard gets an emergency call to report to work (he's employed at the satellite tracking station in Guaymas). Raimundo and Pedro show up, angry, but are unable to make a big deal of it because Lía's mother is present. They depart and then Doña Luz hustles the other men out, including Lupe (who was only pretending to be gay). even tearing her dress at one point. Then they reconcile because...Nora comes back to him?! So we've got muddled chronology, outrageous coincidence, mistaken impressions, and completely illogical actions. And that's just one sub-plot! Lía and Betty are the mistresses of Raimundo and Pedro, respectively. The older men, both married, pay for the women's luxurious lifestyle in Cuernavaca, but visit only on the weekends. On one such weekend, Raimundo and Pedro are accompanied by their friend from Monterrey, Casto, who expects to be set up with Nora, a friend of Lía. Nora hasn't decided to enter the life of a kept woman: she joins the party (which involves skinny-dipping by the women and other diversions) but refuses to sleep with Casto. Lía and Betty ask their boyfriends to spent Christmas Eve with them "decently," but Raimundo and Pedro merely deliver their gifts (a diamond ring for Betty and the paperwork for a new car for Lía) and then depart to spend the holiday with their families (Casto didn't make it at all: "he's in the hospital"). In revenge, the women decide to invite 3 strangers to share their dinner. Julio, editor of a matchmaking magazine, is called on the spur of the moment and agrees to attend, bringing along his friend Tony, a womanising undertaker. To complete the trio, they pick up drunken gringo Richard, found clinging to a lamp post ("he has a defect: he's American and he's drunk," Julio says--wouldn't that be two defects?). Lía's servant María arranges for her own date, but is disappointed when the effeminate Lupe shows up. The party is just getting started when Lía's elderly mother Luz arrives unexpectedly from the provinces. Lía and her friends claim the young men are their fiancés. Everyone enjoys themselves--Betty A few days later (again, the chronology is unclear, although it isn't New Years yet), Pedro appears and gives Betty a diamond ring to apologise, but she rejects it (and returns one he had given her earlier): she's been listening to Richard on the short-wave radio as he chats about her to the orbiting Gemini astronauts passing over Mexico. Ashamed of her prior life, Betty decides to go away so Richard can't find her and propose marriage (as he has indicated he will do). Lía gets a letter from the priest in her hometown and learns her mother died on 16 December...so it was apparently her kindly ghost who spent Christmas Eve with her daughter and the others, helping set them on the right path in life. Raimundo offers to pay Lía's passage to Europe, but she breaks off their relationship. Julio and Nora finally get together, and decide to spend the New Year's holiday in the countryside. They convince Lía and Betty to go along. Tony appears in his hearse and confesses his true love for Lía. As they drive off, Betty spots Richard standing beside the road and they are also reunited. In addition to the "Phantom Hitchhiker"-like twist regarding the ghost of doña Luz (handled reasonably well, with a few well-placed clues only obvious in retrospect), Las amiguitas de los ricos also includes a cameo appearance by Santa Claus! The film opens with a scene in Heaven 4 THE MEXICAN FILM BULLETIN Volume 17 Number 4 (July-August 2011) lion's share of the footage, it wasn't necessary to pair her character with the gringo male (one might expect quite the opposite). Worth noting, however is the original depiction of Betty as a wholly mercenary character who, furthermore, affects an Italian accent--one might say she is already practically a foreigner herself. And yet, by falling in love with a gringo who goes against the stereotype of "Americans" as a people obsessed with business and money, she discards these false values and resumes her Mexican identity. Consequently, Las amiguitas de los ricos is a rare example of a Mexican movie which places a young and handsome male gringo in a Mexican milieu, gives him a major role, depicts him sympathetically, pairs him up with the leading lady (at least in terms of billing), and lets them live happily ever after. The technical aspects of Las amiguitas de los ricos are adequate. José Díaz Morales had little discernable directorial style but was a competent craftsman. Most of the film was shot on location in somebody's luxurious house in Pedregal (curiously, in the final scene, two huge dogs can be spotted frolicking in the yard, although they appear in no other scene). The performances are all professional, within each performer's limitations and style. Yu Yu (Varela) and Arturo Cobo handle the comic relief and towards the end of the film even go through a sort of carpa routine: Lupe proposes to María and she agrees, but says he has to help support her invalid uncle...her little brother...her uncle's wife...etc., with the appropriate grimaces and gesticulations by Lupe each time. Fanny Cano is strikingly beautiful but frozen-faced as always, Maricruz Olivier carries the heavy melodramatics, Sara García is her usual stalwart self (in one scene, she's referred to as abuelita--even though in the context of the film she's no one's grandmother--which references her nickname of "the grandmother of Mexico"). Carlos Cortés and León Michael are adequate, while John Novak does a good job, although he'd have been easier to take if he hadn't been saddled with the stereotypical gringo's pidginSpanish dialogue. Trivia note: the oft-repeated theme song of Las amiguitas de los ricos is an instrumental version of "Everybody Loves Somebody Sometime," a major hit for Dean Martin in the mid-1960s. (shown as a black void, oddly enough): God (unseen, heard in voiceover) warns Santa Claus not to meddle in the lives of adults on Earth. He must limit his activities to making children happy; Santa Claus agrees but breaks his word, causing a Christmas tree to mysteriously appear in the yard of Lía's house (which inspires the Christmas Eve party), and later appearing on the street to ask Lía, Betty, and Nora what they want for Christmas (Betty--a diamond ring; Nora--true love; Lía--to freeze time). The other aspect of interest--the presence of gringo Richard McDonald--is curious in several ways. While gringos have appeared in Mexican cinema since at least the 1920s, most of the favourable U.S. characters are women or older men (such as Cliff Carr). Young male gringos were not especially prominent in Mexican films (especially prior to the 1980s), and were often portrayed as villains or at least unsympathetic weaklings. However, while Richard displays some stereotypical attributes--he's clumsy (mostly because he's drunk), speaks heavilyaccented, grammatically-shaky Spanish, is attracted to Mexican women, and is presented as something of a näif-he is by no means an unpleasant or negative character and is rather readily accepted by Lía, Betty, and the others. Doña Luz says "these Americans never grow up. But they're very likeable." Richard is given a personality and a back-story, another rarity for Mexican cinema gringos (actually, he's referred to as an americano several times, which is not the usual practice in Mexican movies, where gringos are usually called gringos or norteamericanos or estadounidenses). In fact, the Richard-Betty sub-plot occupies much more screen time than either the dysfunctional Julio-Nora romance or the almost nonexistent Lía-Tony story: although Ana Bertha Lepe was top-billed and would thus be expected to have the Los millones del Chaflán [Chaflán's Millons] (Productores Unidos, 1938) Prod: Alfonso Sánchez Tello; Dir: Rolando Aguilar; Adapt-Dialog: José Díaz Morales, Josep Carner Ribalta; Story: Alejandro Galindo; Photo: Gabriel Figueroa; Music: Gonzalo Curiel; Prod Chief: Luis Sánchez Tello; Asst Dir: Miguel Delgado; Film Ed: Charles Kimball; Art Dir: Jorge Fernández; Choreog: Edmundo Santos; Sound Rec: B.J. Kroger Cast: Carlos López "Chaflán" (Prisciliano Ordóñez "El Chaflán"), Emma Roldán (Remedios), Joaquín Pardavé (Rómulo Valdés), Pedro Armendáriz (Antonio), Gloria Marín (manicurist), Carmelita [Bohr] (Rosita), Carlos López Moctezuma (Alberto de los Ríos), Rafael Icardo (Emilio Carrasco), Lucha María Ávila (Chaflán's youngest 5 THE MEXICAN FILM BULLETIN Volume 17 Number 4 (July-August 2011) invest in an automated milking invention. In the end, Chaflán is threatened with prison for fraud, but Antonio and Rómulo nab Alberto before he can abscond with the cash. The oil company gives back Chaflán's land because no oil was found there, and the family returns to the small village of Vallecillo (where a modern school has been constructed thanks to a cash gift from Chaflán). Los millones del Chaflán is extremely slick and wellproduced for the period: some footage was shot on location and there are also some large and luxurious sets on display. There are plenty of extras (especially in the final scenes, in which hundreds of people line the streets as Chaflán comes home), and one very elaborate musical number (a swing dance at Chaflán's costume ball--there are also two songs performed in a cabaret), as well as a long-ish fashion show sequence. daughter), Hernán Vera (Bautista, major domo), José Chávez, Manuel Buendía, Jorge Treviño (insurance salesman), Arturo Manrique "Panseco" (book salesman), Cliff Carr (Jacky Robinson), Arturo Soto Rangel (notary), Agustín Isunza (modiste), Alfonso Ruiz Gómez (Alberto's accomplice), Víctor Velázquez, Gustavo Aponte, Gonzalo Curiel, Carlos Max García, Alpiste (bellhop), David Valle González (offended party guest #2), Raúl Guerrero (announcer), Tito Junco, Victor Junco, Max Langler (Amadeo de Ceboya, undertaker), Jorge Marrón (Anselmo Menchaca, real estate salesman), Miguel Montemayor Notes: this is an amusing and surprisingly elaboratelyproduced comedy utilising the triedand-true "country vs. city" theme. Although the title suggests the film would be a vehicle for the comic talents of Carlos López "Chaflán," this is actually an ensemble piece and Chaflán is by no means the sole attraction. López generally played supporting roles as good-natured rural types; one of his most famous roles was in Ay Jalisco, no te rajes! (1941). Ironically, that was one of the actor's final movies, as he died tragically in 1942 at the age of 53. Los millones del Chaflán begins in New York City: the manager of the "State Promoting Co." sends Alberto to Mexico to obtain an oil lease option on the ranch owned by Prisciliano Ordóñez "El Chaflán." Alberto loses out to the "Golden Drum Oil Company" (despite its name, a Mexican corporation), but insinuates himself into the confidence of the Ordóñez family, especially Chaflán's social-climbing wife Remedios. Although Chaflán doesn't want to sell his property, his wife and children urge him to do so, and they all move to Mexico City, accompanied by town barber Rómulo-Chaflán's compadre--who reminds everyone that he's been in the capital before. The usual horde of importunate salesmen descends on the new arrivals (Rómulo facilitates the family's purchases, pocketing a 10% cut from each vendor): they buy a large mansion, new clothes, Chaflán takes up golf, they throw a masked ball for high society, etc. Remedios is happy but her oldest daughter Rosita misses her ranchero boyfriend Antonio. Rómulo opens a fancy barber shop in the city and romances a cute manicurist. Alberto helps everyone get acclimated, but he is actually planning a massive scam to separate Chaflán from his fortune, convincing him to The comedy in Los millones del Chaflán is very lowkey and character-based, with very little slapstick and few actual "jokes." Chaflán is depicted as a decent fellow (the first thing he does when he receives the money for his ranch is donate a large sum to build a school) who's a little out of his element in the big city (although he adapts fairly well); Remedios is self-centered and snobbish; Rómulo is crafty but also somewhat naive. As noted above, Rómulo takes a commission on everything sold to Chaflán and purchases a barber shop with it, but when Chaflán loses his fortune at film's end, Rómulo hands over his savings and says the shop is actually in Chaflán's name as well. Mistaken identity is a repeated theme in the script: Alberto poses as an archeologist to fool the rival oil company agent, who in turn introduces himself as a climatologist (despite the fact his car has "Golden Drum Oil Company" painted on the door!). When Chaflán and his family arrive in Mexico, they mistake a real estate salesman for the head of Golden Drum, then toss a bucket of water on the actual oil company executive, thinking he's another salesman. At the masquerade ball, Chaflán throws out two guests, believing 6 THE MEXICAN FILM BULLETIN Volume 17 Number 4 (July-August 2011) them to be the obnoxious life insurance and encyclopedia salesmen who have been pestering him--however, the ejected men are actually Middle Eastern diplomats, who challenge Chaflán to a duel to assuage the insult to their honour. Yet another mixup ensues, and the two diplomats shoot each other by mistake. The performances are assured and professional--, Roldán, Pardavé, and López Moctezuma go through their paces smoothly. Pedro Armendáriz doesn't have much to do, but he's handsome and earnest, and plays opposite Carmelita Bohr, whom he married in 1938 (their son is actor Pedro Armendáriz Jr.). Bohr, like Armendáriz, fades into the background when the more experienced and colourful performers take over the middle section of the movie. Los millones del Chaflán was the first film for Gloria Marín, who's cute (if a little plump) and gets to sing a comic song about Chaflán. Hernán Vera has a larger than usual role (if you know the rotund Hernán Vera, I suppose that's sort of a pun), and the cast includes other familiar names and faces, including Arturo Soto Rangel, the Junco brothers (in bit parts), Agustín Isunza, Arturo Manrique & Jorge Treviño, and Cliff Carr. Rafael Banquells (Marco Antonio, the Roman), Conchita Carracedo (Elena), Julián de Meriche (Ptoloméo; cinema cashier), Humberto Rodríguez (Roman citizen), Hernán Vera (Roman senator Lépido), Pedro Elviro "Pitouto" (Egyptian councillor), Miguel Manzano (Egyptian traffic cop), Fernando Casanova (Roman soldier), Carlos Villarías (Septimio), Juan José Laboriel (pyramid keeper); Romans: Stefan Verne, Alfonso Jiménez "Kilómetro," Francisco Pando Notes: finally, after about 20 years, I was able to see La vida íntima de Marco Antonio y Cleopatra again, albeit in a VHS-sourced copy apparently cut by 15-20 minutes from its original running time (97 minutes is cited in García Riera: the copy I obtained is about 78, though there are no obvious gaps in the story). To be honest, I had little or no memory of the film, so it was as if I were seeing it for the first time, and my "first" impression was of an extremely well-produced and directed comedy. The elaborate sets and large number of extras make it appear that money was spent on the movie, and the direction and editing are aboveaverage for Mexican cinema of the era. The Roman setting of Vida íntima is reminiscent of Roman Scandals (1933), which starred Eddie Cantor, as well as the British film Fiddlers Three (1944): in each of these movies, the protagonists are magically transported back to ancient Rome (Fiddlers Three even includes an injoke reference to the Cantor film). Lo que va de ayer a hoy (1945) reversed the process in Rip van Winkle fashion, with a protagonist who awakes in 1945 Mexico after 50 years in suspended animation. The title of La vida íntima de Marco Antonio y Cleopatra seems to have been inspired by a series of novels and films, including John Erskine's "The Private Life of Helen of Troy" (novel published 1925, filmed 1927), The Private Life of Henry VIII (1933), and The Private Life of Don Juan (1934). Despite his wife Elena's objections, Marco Antonio Gutiérrez works for fake psychic "Professor" Julio, helping bilk gullible clients. Marco Antonio is in love with Julio's wife Cleo; she encourages his attentions, although she is actually planning to run away with Julio's medium, Octavio. When Octavio and Elena fail to appear for a seance with an important client, La vida íntima de Marco Antonio y Cleopatra [The Intimate Life of Marc Antony and Cleopatra] (Filmex, 1946) Exec Prod: Alfredo Ripstein Jr.; Prod: Gregorio Walerstein; Dir: Roberto Gabaldón [sic]; Scr: Tito Davison; Adapt: Sixto Pondal Ríos, Carlos Olivari; Story: Leopoldo Baeza y Aceves; Photo: José Ortiz Ramos; Music: Manuel Esperón; Assoc Prod: Juan Parret; Prod Chief: Manuel Rodríguez G.; Asst Dir: Ignacio Villareal; Film Ed: Carlos Savage; Art Dir: Luis Moya; Camera Op: Mario González; Spec FX: Hermanos Machado; Animated Titles: Saviur y Eddy; Costume Des: Armando Valdéz Peza; Makeup: Dolores Camarillo; Chorego: Julián de Meriche; Sound: B.J. Kroger; Sound Op: Rodolfo Benítez, Enrique Rodríguez Cast: Luis Sandrini (Marco Antonio Gutiérrez), María Antonio Pons (Cleo; Cleopatra), Víctor Junco (Octavio, then and now), José Baviera (Prof. Julio; Julio César), 7 THE MEXICAN FILM BULLETIN Volume 17 Number 4 (July-August 2011) number of times), which clearly influenced La vida íntima de Marco Antonio y Cleopatra, particularly the scenes in which Marco Antonio replenishes the royal coffers by instituting fees for drivers' licenses and tags (applying them to camels, horses and chariots rather than automobiles), as well as some other anachronistic innovations, including a group of Egyptian musicans playing a tango and the rather spectacular sequence in which Marco Antonio defeats a lion in the Coliseum. The arena set itself is substantial and Marco Antonio's interaction with a real lion is almost seamlessly done (obviously a stunt double and even some stock footage was probably used, but in some scenes it appears Sandrini was actually working with the animal). There is even an espontáneo (a spectator who leaps into the ring during a bullfight), and the Roman audience rather quickly picks up on the traditional shout of "Olé!" Other topical references including a mention of the Good Neighbor Policy, a joke about Bing Crosby, and Marco Antonio stating the conflict between Rome and Egypt would be over in a minute if he had an atomic bomb "but where would I get the uranium?" Although much of the humour is based on wordplay and anachronisms, there is some slapstick (Marco Antonio bumping into a column and having his armour all drop off) and character-based comedy as well. Vida íntima was the first Mexican film for Luis Sandrini, who had been a major star in Argentina since the early 1930s. In La vida íntima de Marco Antonio y Cleopatra, Sandrini's comic persona is relatively "normal" --he's assertive but not aggressive and doesn't have much special "business" other than a catch-phrase ("Mientras el cuerpo aguante"--as long as the body can stand it) and the occasional bemused look. Interestingly enough, although Sandrini has a slight Argentine accent and sings/dances a tango late in the movie, the script is coy about his nationality. He tells Caesar he's from a continent "that hasn't been discovered yet" (which could apply to either North or South America) and in one scene claims he's from Xochimilco (near Mexico City). It is a bit odd that Marco Antonio Gutiérrez is depicted as at least emotionally unfaithful to his (initially shrewish, later pleasant) wife Elena. He's fully prepared to run away with Cleo, his employer's wife, even taking his life savings in cash and writing Elena a farewell note. After his sojourn in ancient times, Marco Antonio realises Cleo (like her Prof. Julio hypnotises Marco Antonio and sends him into the spirit world. Instead of finding the client's late husband Septimio, however, Marco Antonio meets the ghost of Roman general Septimio (who gives the fascist salute--till Marco Antonio warns him it's no longer politically correct). When the police raid his offices, Prof. Julio flees without awakening Marco Antonio from his trance. Instead, Marco Antonio goes back to ancient Rome with Septimio's spirit (before leaving, Marco Antonio grabs a history book about Rome)--they mysteriously (and illogically) become flesh-and-blood when they arrive. The stranger is taken before Julio César, but runs afoul of the emperor by predicting his death on the following day. [When Caesar asks how he will die, Marco Antonio replies "Por bruto." This could mean either "By Brutus," or "Out of stupidity."] Sentenced to die in the gladiatorial arena, Marco Antonio defeats a lion (employing bullfighting techniques) and his life is spared. After Julio César is murdered, Octavio takes control of the empire. Roman general Marco Antonio is ordered to Egypt to parley with Cleopatra, but--warned of his fate if he goes--he convinces Marco Antonio Gutiérrez to substitute for him (when the general asks, Marco Antonio says "have you been smoking marijuana?"). Cleopatra accepts Marco Antonio as the real thing, and apparently falls in love. She also hopes to enlist him in her plans to conquer the Middle East. This upsets her brother Ptoloméo, who travels to Rome to denounce Marco Antonio's betrayal. Octavio arrives in Egypt with a Roman army, and Cleopatra switches sides immediately. Disillusioned, Marco Antonio commits suicide by falling on his own sword. This revives the unconscious Marco Antonio in 20th-century Mexico. Now aware of Cleo and Octavio's treachery, Marco Antonio goes home to his wife. Stories in which a contemporary character is travels back in time (or into the future) have long been popular. One of the earliest was Mark Twain's 1889 novel "A Connecticut Yankee in King Arthur's Court" (filmed a 8 THE MEXICAN FILM BULLETIN Volume 17 Number 4 (July-August 2011) namesake Cleopatra) is a treacherous gold-digger and returns to his wife. Marco Antonio's suicide is also slightly shocking--historical fact or not, seeing the leading man in a comedy deliberately kill himself is a shock. Viewers expecting a María Antonieta Pons musical will be surprised that there are only two major dance numbers, although she has significant screen time otherwise, both in the contemporary sequences and the Roman scenes. The dances are elaborately staged and filmed with some style, including overhead shots, long shots, quick cuts and other technical niceties. Pons has a semi-villainous (dual) role here, exploiting Marco Antonio in both eras and (in the contemporary section) being unfaithful to her husband as well. The rest of the cast is solid although no one has much footage or personality: this is clearly a Luis Sandrini vehicle, meant to establish him as a leading comic actor in Mexican cinema after a long career in Argentina. Like singer-actor Hugo del Carril--but unlike Libertad Lamarque--Sandrini spent only a brief period in Mexico in the 1940s before returning to his homeland, where he was active in films right up until his death in 1980. (Marquesa del Valle), Fernando Casanova (Rudy Almada), Lili Acelmar (waitress-snitch), Julio Ahuet (detective), Manuel Trejo Morales (Rico Bellini), Consuelo Pastor (María), Jorge Fábregas (Arturo), Lilí Yabel (singer), Enrique Rosas Ruiz, Bernardo Illañez V., Manuel Sánchez Navarro (police chief), Ramón Bugarini (hotel desk clerk), Juan B. Terraza (pianist), El Ballet de Chelo LaRue, Dámaso Pérez Prado (bandleader), Enrique Zambrano (Lucio del Castillo), Rogelio Fernández (tough guy) Notes: although on the surface this might seem to be a standard crime film about a suave jewel thief, Manos de Seda more closely resembles a "women's melodrama," albeit with a male protagonist whose life is affected by 3 women (rather than the reverse). Jorge, known as "Manos de Seda," steals the "Twins of Brest" diamonds but is wounded by pursuing police and takes refuge in the home of wealthy Estela del Castillo. Learning she was waiting for her lover to arrive (her husband is out of town), Jorge blackmails her into allowing him to stay until the heat is off. They become friends and Jorge helps her retrieve some incriminating letters from her blackmailing "boyfriend" Rudy. His debt to her discharged, Jorge departs. Passing as a member of a prominent society family, Jorge makes the acquaintance of Alonso Medina, the detective in charge of capturing the mysterious "Manos de Seda." Alonso is in love with Elsa, but she prefers Jorge. Jorge is welcomed into the poker-playing circle of the rich and eccentric Marquesa del Valle. He decides to steal her emerald necklace, but when she confronts him he changes his mind and decides to go straight, which pleases Elsa. However, impoverished lawyer Arturo robs the Marquesa himself, so he can afford to marry his sweetheart. Jorge picks Arturo's pocket and returns the necklace so the younger man won't ruin his future. As part of his plan to reform, Jorge visits exgangster Rico, who now owns a cabaret, and asks him to purchase a house and property where he can retire. However, one of the club waitresses is a police spy and Medina and his men arrive to arrest Jorge. Jorge is tipped off by a grateful Estela, whose husband is Medina's friend. He flees and leaps off a cliff into a river to escape the police. Some time later (two years according to the dialogue, yet Elsa's baby looks much younger than that), Jorge is reunited with Elsa, who now has a young child. Elsa is shocked to discover "Manos de Seda" lost both hands (irony!) in his Manos de Seda [Silk Hands] (Prods. Galindo Hermanos, 1951) Prod: Eduardo Galindo; Dir-Scr: Chano Urueta; Adapt: Eduardo Galindo; Orig. Story: José G. Cruz; Photo: Enrique Wallace; Music: Gonzalo Curiel; Prod Mgr: Porfirio Triay Peniche; Prod Chief: Guillermo Alcayde; Asst Dir: A. Corona Blake; Film Ed: Jorge Bustos; Art Dir: Ramón Rodríguez G.; Asst Photo: Carlos Martel, Manuel Luna, Luis González; Mkup: Noemí Wallace; Sound Supv: James L. Fields; Dialog Rec: José de Pérez; Music/Re-rec: Galdino Samperio; Spec FX: José Benavides Cast: David Silva (Jorge, "Manos de Seda"), Rita Macedo (Elsa), Roberto Romaña (Detective Alonso Medina), Eva Calvo (Estela del Castillo), Maruja Grifell 9 THE MEXICAN FILM BULLETIN Volume 17 Number 4 (July-August 2011) numbers which are completely irrelevant to the plot--even moreso than usual for Mexican cinema--but the music is good and these sequences contribute a little more "atmosphere" to an otherwise fairly bland and style-less melodrama. flight from the law (this is a rather shocking scene). Medina and his detectives show up and arrest Jorge; Elsa promises to wait for him to be released from prison. Manos de Seda isn't a poor film, but it lacks focus and has a number of illogical aspects and dangling plot threads. The back-stories of the various characters are alluded to but never clearly discussed: how did Jorge become "Manos de Seda," when did he meet Elsa, how did Elsa and Alonso become acquainted, when did Elsa and Jorge did they have the time to get together and conceive a child (or is the baby not Jorge's?), and so on. The screenplay is separated into three fairly distinct parts, each dealing in some way with Jorge's relationship with a different woman: Jorge and Estela, Jorge and the Marquesa, and the concluding section (which to some extent details Jorge's relationship with Elsa, but also contains the undercover waitress and--perhaps to illustrate the future wedded bliss Jorge and Elsa might experience--depicts former criminal Rico and his wife María in a positive manner). David Silva plays a character slightly different than his usual long-suffering everyman roles: as Manos de Seda, he's confident, in control, self-assured. Only at the end when he reveals the loss of his hands and surrenders to the police does he revert to "Suffering Silva." Rita Macedo has little to do, but Eva Calvo and Maruja Grifell are good as the other two women in Jorge's life. Roberto Romaña began appearing in films after working as a model for the fotomontaje comic books of José G. Cruz. He had only a brief screen career, working in 4 films based on stories by Cruz and a handful of other movies, most directed by either Chano Urueta or Juan Orol. He's adequate in Manos de Seda in an under-written part. The film's production values are satisfactory. Even at this early date, Chano Urueta shows his penchant for jarring and largely unnecessary back-projection, but the film also includes a fair amount of "real" exterior shots and some large sets. There are a couple of decent musical Muchachos de barrio* [Boys of the Neighborhood] (Películas Mexicanas-IFI, 1977) Dir: León Klimovsky; Scr: Steve McCoy, Jacky Kelly, Henry Soteh**; Orig. Novel: José Luis Martín Invigel; Photo: Francisco Sánchez; Music: Enrique Escobar; Film Ed: Emilio Ortiz *Spanish title: Y ahora qué, señor fiscal? [And Now What, Mr. Prosecutor?]; the Media Trading Network DVD carries the Muchachos de barrio title but has a videogenerated sub-title "Condenado a muerte" [Condemned to Death] **Spanish sources credit: Scr: Steve MacCoy; Story: Kelly Martín Vigil, José Luis Soteh Cast: Valentín Trujillo (José Salgero Menéndez), Leticia Perdigón (Paloma), Verónica Miriel (Rosa), Silvia Solar (Julia Polanco), Ricardo Macip (?Sebastián "El Mangas"), Susana Mayo (?aunt), ?María Martín Notes: this Spanish-Mexican coproduction was shot in Spain, possibly using money Películas Mexicanas earned distributing Mexican movies in that country but couldn't send back to the homeland. Curiously, the two main players (Trujillo and Perdigón) were both Mexican--one would expect one Mexican and one Spaniard, but in this case the supporting cast is 100% Spanish. [note: some sources erroneously credit Ignacio López Tarso, Fernando Allende, and Lina Michel in the cast, but I guarantee none of these appeared in the version I saw, and I seriously doubt if they appear in any version. By the way, these same "sources" also give a running time of 112 minutes, again unlikely. Spanish sources list 100 minutes and the Mexican version is 83 minutes.] While the film was clearly shot in Spain, the Mexican version was post-dubbed into "Mexican" (Trujillo and Perdigón do their own dialogue) and there are no verbal references to the picture's setting. Muchachos de barrio was based on a popular 1975 Spanish novel "Y ahora qué, señor fiscal?" Although sold as a sort of "juvenile delinquent" movie (the quinqui genre which produced the "Torete" movies and others), Muchachos de barrio is actually more of a melodrama, although there are some similarities between this film and the quinqui pictures. The movie has a fragmented narrative structure, and is mostly told in 10 THE MEXICAN FILM BULLETIN Volume 17 Number 4 (July-August 2011) Muchachos de barrio is well done and reasonably restrained for a melodrama. Sure, Paloma gets pregnant the first time she has sex (a melodrama staple), and her father and older brother are snobs while her mother is sympathetic but powerless (more stereotypes), but there aren't a lot of overdone theatrics. The performances are all fine. León Klimovsky makes sure to include a fair amount of gratuitous female (and a bit of male) nudity, right from the beginning. For example, José goes looking for El Mangas in a brothel, and bursts into the wrong room. He gets directions to the right room; the young woman who speaks to him is holding a dress over her chest, but when José leaves, the camera doesn't cut away (as one would expect), instead it lingers as she drops the dress and exposes her breasts for several seconds. Leticia Perdigón has several nude scenes, as does Verónica Miriel (made up to look like a whore because she plays...a whore!), and the actress who plays Paloma's aunt is topless and in lingerie in her murder scene. [note: some of the sex scenes end rather abruptly, suggesting censorship.] flashback as José and Paloma are interviewed by José's defense attorney. José lives in a poor barrio but strives to make a honest living as an apprentice mechanic. During the summer, he also works on the beach, renting paddle boats, and one day he meets the youthful Paloma and her two friends. Despite the differences in their socio-economic class (Paloma's family is upper middle-class at least), the two young people fall in love. One thing leads to another, and Paloma becomes pregnant. Although this upsets her family, her father finally agrees to allow them to wed, and even gives José a job in his business and lets the couple live in his luxurious apartment (their bedroom alone is larger than the house José's family lives in). However, José and Paloma are not happy with this arrangement. Paloma's father forbids her little brother to associate with José's younger brother, and demands an accounting of the couple's actions. This precipitates a break: they move out and José goes back to work in the car repair shop. When they are invited to Germany for a vacation, there is no money to spare, so Paloma comes up with a plan to rob her wealthy aunt of just enough cash (and a check) for the trip, certain the older woman won't prosecute. José recruits his childhood friend "El Mangas" as an accomplice. The robbery goes off as planned, but El Mangas (who was holding the money and the blank check) doesn't appear at the appointed time to share the booty. José and Paloma learn her aunt was raped and murdered, and her apartment plundered, the night after their burglary. They are arrested, as is El Mangas. El Mangas denies being there on two different nights, and blames José for the murder and rape. José is sentenced to death. Just before the execution, El Mangas breaks down and confesses: he went back to the apartment to take the jewels and money he had been forced to leave behind the night before. Surprised by the sudden return of the aunt, he watched from hiding as she undressed and then raped and strangled her. The prison guards go to tell José the good news, and find him in his cell with his wrists slashed, and "soy inocente" (I'm innocent) written in blood on the wall! However, it appears he will survive. [Apparently, in the original novel he dies, but in the movie Paloma's father asks a priest "Will he be saved?" and the priest nods. I am pretty sure he wasn't referring to the "salvation" of José's soul--which, if he committed suicide, wouldn't be assured anyway.] Final note: this film was released on DVD by Media Trading Network, with hilariously misleading cover art suggesting it is some kind of cholo film! The photo of (a much older) Valentin Trujillo on the front cover appears to have sunglasses Photoshopped in, and the photo on the back cover depicts him wearing a cowboy hat! There is also photo of a gang of cholos in their plaid shirts and bandannas. Anyone who purchased this DVD hoping for a tale of gang warfare on the streets of L.A., Ciudad Juárez, or Mexico City would be mighty disappointed! On the other hand, the quality of the print is satisfactory (not great, but with this company you never know) and Media Trading Network DVDs are usually pretty cheap, so this is a decent bargain for those in the know. Mientras México duerme [While Mexico City Sleeps] (Prods. Filmicas Agrasánchez, 1983) Exec Prod: J. David Agrasánchez L.; Prod: Rogelio Agrasánchez L.; Dir: Miguel M. Delgado; Scr: Jorge Patiño; Photo: Antonio Ruiz; Music: Luis Arcaraz; Prod Mgr: Jorge Moreno Rios; Film Ed: Jorge Rivera; Re-rec: Ricardo Saldívar; Union: STIC Cast: Sasha Montenegro (Durán's girlfriend), Wolf Ruvinskis (Capt. Miguel Durán), Sergio Bustamante (Gil), La Princesa Lea (dancer), Silvia Derbez (doña Remedios), Guillermo Herrera (El Chalacas), Narciso Busquets (Higinio Cervera), Sandra Duarte (Rosario), Héctor Sáez 11 THE MEXICAN FILM BULLETIN Volume 17 Number 4 (July-August 2011) crimes. Witnesses, including the concierge, cannot identify the criminals in a line-up, but eventually a list of former employees of the murdered lawyer yields a hit: Higinio Cervera, who has a criminal record. Cervera is arrested after a car chase, but is released for lack of evidence. Higinio had tipped off Gil and the others to Betancourt (who apparently kept a lot of money is his apartment), but is now angry that the job failed and suspicion has fallen on him. He murders Raymundo (shooting him four times in the face with a silenced pistol). El Chalacas returns to the nightclub and tries to rape the exotic gringa dancer in her dressing room; failing at this, he flees and hijacks a cab, but the cabbie's fellow drivers rally around to stop the vehicle and El Chalacas is arrested. Higinio knows El Chalacas will squeal if he is interrogated, so he sends a lawyer to put up bail. He then informs Gil that El Chalacas must be eliminated, but the police rescue Chalacas at the last moment (Gil is shot to death). Capt Durán and his men return to Higinio's apartment to arrest him. Durán is mortally wounded by the criminal, who is also killed. Mientras México duerme does a good job juggling the various sub-plots, switching from the three crooks to Durán and then to the travails of Rubén's mother and wife (who goes into labor and gives birth at approximately the same time Rubén is being murdered). As alluded to earlier, the scenes of Durán's "personal" life aren't very frequent and aren't very believable, but at least the film tries to give his character some depth. Of the four criminals--Gil, El Chalacas, Raymundo, Higinio--it is Chalacas, oddly enough, who has the most "personality" (albeit a neurotic one). As Gil, Sergio Bustamante is (for him) restrained, while Jorge Reynoso as Raymundo gets one big scene (where he begs Higinio for his life). Narciso Busquets, looking rather thin and old, is satisfactory as Higinio. On the distaff side, Silvia Derbez does her usual professional job as Rubén's sad and bitter mother, and it's nice to see Sandra Duarte again (who had been in some late '70s movies but never had much of a career). Princesa Lea is big, loud, and brassy (and gets to do a couple of strip tease numbers, although curiously she avoids full frontal nudity whereas the other strippers--who also do complete acts--have no such qualms). The production values are decent--the movie was shot mostly on location and there are some indications it benefited from cooperation with various organizations, including the police and a taxi company. Miguel M. Delgado, best-known as the house director for Cantinflas, nonetheless maintained a separate career and his "outside" movies include some which are quite at odds with those he made for Mexico's greatest comedian--a fair number of these were crime pictures and even horror movies, such as Cárcel de mujeres, Sábada negro, Misterios de la magia negra, El asesino se embarca, Bajo el imperio del hampa, Santo y Blue Demon contral Drácula y el Hombre Lobo, etc. Delgado may not have demonstrated a particular "style," but he was a professional and his movies are generally slick and entertaining. (Rubén), César Sobrevals (police agent), Alma Thelma, Rocío Rilke, Michelle Dubois, Jorge Reynoso (Raymundo), Mario Zabadua [sic] "Colocho" (Nicanor), Mireya Cantú (bargirl), Carlos Canto, Alfonso Brito (Cuco, detective), Mariana Georges, Jaime Reyes (police agent), Enrique Márquez, Julián del Valle (?Julián), Miguel Inclán, Ramiro Orel [sic Orci] (Col. Hernández), Lucrecia Muñoz, José de Jesús Martínez, Elvira Orduña, Aurelio Casares, María del Mar, Roberto Rayo, El Regazón, Marcelo Villamil (Lic. Betancourt), Notes: this movie is not related to the 1938 movie of the same name (although both are crime films). It is a fairly entertaining picture, but it does contain a particularly egregious example of "false billing"--"star" Sasha Montenegro appears for a total of about 5 minutes out of the 90-minute running time! She shows up briefly at the 37 minute mark, then again at 72 minutes, and reappears at 1:27 for the last few moments of the picture. Her character doesn't even have a name (that I could tell)! [Note: the Film-Mex video box lists Montenegro and Jorge Reynoso as the stars--Reynoso's character doesn't even make it halfway through the picture before being killed!] However, the movie is decently scripted and put together, features various exotic dances (and thus plenty of nudity), and gives Wolf Ruvinskis a rare leading-man role (unfortunately, he's much too old to be believable as Sasha Montenegro's lover and the scenes of them smooching are risible). The cast is sprinkled with familiar faces, always a nice touch. The movie's depiction of the Mexican police is fairly positive--we even see them doing some forensic work. This is offset by a scene in the offices of the Ministerio Público, where the employees are too busy eating sandwiches and reading magazines to release the body of a murdered cabbie to his mother (until the office supervisor gets a stern phone call from a higher-up). Taxi-driver Rubén drops off his very pregnant wife Rosario at her mother's apartment when he begins his night shift. His first customer is a regular fare, an exotic dancer who he takes to the nightclub where she works. [I do not believe Princesa Lea's character has a name in this movie. She speaks pretty good Spanish but the script has her lapse into English several times, apparently to identify her as a gringa--which she was.] Among the club's customers are crooks Gil, El Chalacas, and Raymundo, who are waiting for Higinio to show up. When he doesn't, they leave, hijacking Rubén's cab. The criminals rob and murder Rubén, leaving his corpse in a vacant lot. The trio then visits a large apartment building, forcing their way inside. The concierge and his daughter are bound and gagged. Gil, El Chalacas, and Raymundo enter the apartment of lawyer Betancourt, but the man's Doberman pinscher attacks Chalacas, forcing them to shoot him. The lawyer and his wife are also murdered, as are two other residents of the building who get in the way of the fleeing criminals. Police captain Durán is assigned to the case, leaving his attractive girlfriend in the lurch. Blood tests on a bloody hankerchief found in Rubén's abandoned cab match blood in the Betancourt apartment (it's all blood from the dog bite Chalacas suffered on his jaw), linking the two 12 THE MEXICAN FILM BULLETIN Volume 17 Number 4 (July-August 2011) decides to move to Orizaba to be near him! This means Juan José's two families are now living in the same city, and in fact Ramona and Luisa meet at a company function and become friends! Juanito is the first to discover his father's bigamy, and he notifies his mother and Juan José's other wife and son. They confront Juan José, who tells them (in a long, stylized flashback) how it occurred: Years before, Juan José married Luisa. However, shortly after their marriage he went to Mexico City on business, suffered an accident, and contracted amnesia (the attending doctor says "I've never seen a case of amnesia, except in the movies!"). Juan José falls in love with Ramona, his nurse, and marries her. However, he takes another fall and recovers his memory. He wants to divorce one of his wives but they are both pregnant, so he decides to live a double life. Now that Juan José's masquerade has been exposed, the families agonize over the solution. Since he wasn't conscious of his bigamy, it isn't a crime, but he will have to choose one wife (they won't let him continue on as he has been). Finally, he divorces them both. As they are leaving the court, the two women realize they still love him, and begin to argue about who is going to re-marry Juan José. However, he falls down a flight of stairs and gets amnesia again! In the ambulance, he makes the acquaintance of the lovely nurse Norma... Much of Que haremos con Papá? focuses on the rivalry between Juanito and José, who both work hard and want to become sub-managers of the brewery (in one scene José makes a speech and says "we have to change our system of government...er, bottling!"); they are also both in love with Julia, but this works out all right because Julia just happens to have a twin sister who is snapped up by José. There is a little bit of farce involving Juan José dodging his two wives (he disguises himself as a waiter when they both attend a company celebration), but Luján, Costa and (to a lesser extent) Bonet have the lion's share of the footage (Costa also gets to sing several songs, and there is a long "folkloric" dance number as well). Marga López and María Elena Marqués are pushed into the background. Pancho Córdoba has one amusing scene as a judge with a strange (Jewish?) accent (or maybe he just has a cold), who lectures the family on the law concerning bigamy. After he speaks a few sentences in Latin, someone asks him if that was Otomí (an indigenous language)! A trivia note: Marga López (who was married twice to Carlos Amador and had two sons by him) and Arturo de Mientras México duerme isn't great but it holds one's interest throughout. Que haremos con Papá? [What Will We Do with Papa?] (Cinematográfica Grovas, 1965) Prod: Jesús Grovas; Dir: Rafael Baledón; Scr: José María Fernández Unsaín; Photo: Rosalío Solano; Music Dir: Sergio Guerrero; Asst Dir: Manuel Ortega; Film Ed: Carlos Savage; Art Dir: José Rodríguez Granada; Camera Op: Urbano Vázquez; Union: STPC; Eastmancolor Cast: Arturo de Córdova (Juan José Gómez), Marga López (Ramona), César Costa (Juanito), Fernando Luján (José), Alicia Bonet (Julia; her sister), María Elena Marqués (Luisa), Miguel Angel Ferriz (Ricardo), Francisco Córdoba (judge), Norma Navarro (Norma the nurse), Armando Gutiérrez (doctor), Diana Trillo, Enrique Fernández, Miguel Angel Garrido, Carlos Chávez Notes: this is a reasonably entertaining comedy, although Arturo de Córdova and María Elena Marqués are not well-served by the Eastmancolor photography, which makes them both look quite gaunt and aged. One interesting facet of the picture is the fact that it was mostly filmed on location in Orizaba, and features a lot of footage of the Moctezuma brewery. Only the extended flashback sequence appearances to have been shot in a studio. For this reason, Que haremos con Papá? almost looks like one of the co-productions shot outside of Mexico during this period, with a lot of local color and a relatively small cast of professionals, augmented by people hired on location. Juan José Gómez is a chemist with the Moctezuma brewery. He alternates spending 2 weeks in Orizaba at the main plant with two weeks in Mexico City at the corporate offices. What only Juan José and his friend Ricardo (president of the company) know is that Juan José has a wife and son in Orizaba (Luisa and Juanito) and a wife and son in the capital (Ramona and José). His dual life has gone smoothly for more than 20 years, but now both of his sons have graduated from college with chemistry degrees, and they both want to work for Moctezuma! Juan José and Ricardo decide to hire them, but put them in different parts of the brewery and give them difficult and unrewarding work, so one (or both) will quit. Nonetheless, the two young men almost immediately meet and do not get along well. José becomes infatuated with Julia, Juanito's fiancee, which causes greater conflict. To top things off, Ramona misses her son so much that she 13 THE MEXICAN FILM BULLETIN Volume 17 Number 4 (July-August 2011) Córdoba were lovers off-screen, although the actor had a wife (from whom he was estranged) and a grown son. The circumstances of their relationship may have been coincidental to the plot of the movie (since in fact, although they had been acquainted for years, their romantic relationship did not begin until around this time, lasting until de Córdova's death) but it is an odd coincidence. A curiosity piece and mildly amusing, but generally forgettable. remarks), it is odd to see the name of author Rafael F. Muñoz (who wrote Vámonos con Pancho Villa!) in the credits of this fluffy piece. Gudelio Morantes and his revolutionary troops "capture" an abandoned hacienda. Before the war, Gudelio was the ranch foreman and he now installs himself as the owner, and sends his captains Luciano and Macario to town on a mission...abduct the lovely Valeria so he can marry her! Luciano participates in a song contest and feels he is cheated out of first prize, a 30-30 carbine, by hometown favorite Valeria. In revenge, he flatters her with romantic talk and then takes her back to the hacienda. However, the fiery Valeria refuses to be dominated by Gudelio. Instead, she makes a "treaty" with him, agreeing not to escape in exchange for freedom from molestation. She also meets with her uncle, the commander of the local government troops, and convinces him not to attack Gudelio while she's still a "prisoner." Angry at Luciano, Valeria convinces Gudelio to make her a "colonel" in his batallion, thus out-ranking Luciano and Macario. A series of romantic clashes result: Luciano loves Valeria but is outraged that she's deceiving Gudelio (who is his uncle as well as commander); Valeria loves Luciano but thinks he's a coward for failing to declare his love and defy Gudelio. Valeria confesses to Gudelio, who challenges Luciano to a duel. Instead, Luciano resigns his post and leaves. Valeria follows and she and Luciano finally reconcile. They return to the hacienda and marry. Gudelio learns the Revolution ended "eight months ago"--he disbands his private army and is named instructor of grammar in the town's night school (which is ironic because he speaks in a very un-grammatical manner). Carabina 30-30 starts off in a fairly promising manner, with nice color photography, pleasant songs, and the presence of solid performers like Aguilar, Quintana, and Soler, but it quickly degenerates into routine "Taming of the Shrew"-like bickering between the two romantic principals. It's still reasonably entertaining, but nothing special. One amusing aspect is the casting of Argentine native Quintana as a Mexican. Although she has no particular accent and in fact rarely played Argentines on screen, Quintana's first song is all about how she's from "Guadalajara" and that just isn't true! The poster illustrating this review is from Carabina 3030's release in Yugoslavia. In the 1950s, Mexican films (especially period films about the Revolution, rancheras, and other folkloric-themed movies) were extremely popular in Eastern Europe. Soviet bloc audiences enjoyed the music, colourful costumes, and melodramatic plots, and their governments appreciated the fact that these films were not coming from Hollywood or another ideologically-suspicious Western nation. Carabina 30-30 [30-30 Carbine] (Filmadora Chapultepec, 1958) Prod: Jesús Galindo; Dir-Scr: Miguel M. Delgado; Adapt: Eduardo Galindo; Story: Rafael F. Muñoz; Photo: Gabriel Figueroa; Music: Manuel Esperón; Prod Mgr: Porfirio Triay Peniche; Prod Chief: Ricardo Beltri; Asst Dir: Moisés M. Delgado; Film Ed: Jorge Bustos; Art Dir: Francisco Marco Chilet; Camera Op: Ignacio Romero; Lighting: Daniel López; Makeup: Armando Meyer; Sound Supv: James L. Fields; Dialog Rec: Javier Mateos; Re-rec: Galdino Samperio; Sound Ed: Reynaldo Portillo; Color Tech: J. F. Haquette; Union: STPC; Eastmancolor and Mexiscope Cast: Rosita Quintana (Valeria), Luis Aguilar (Luciano), Pedro Galdino (Macario), Andrés Soler (Gudelio Morantes), Alfredo Varela Jr. (Genovevo), Luis Aragón (Cmdte. Ortega), Miguel Inclán Jr., José Eduardo Pérez (captain), Roberto Meyer (town official), José Pardavé (judge), Victorio Blanco (old peón), Dacia González (guest at wedding), Indio Cacama and Regino Herrera (Gudelio's men) Notes: this pseudo-Revolution film is actually a very lightly disguised ranchera-comedy, with plenty of romance, songs, and the genre's conspicuous lack of real villains. The Revolution itself is mentioned only in passing--and in the title song--and (as García Riera The Mexican Film Bulletin is published 6 times a year by David Wilt, 6803 Dartmouth Ave, College Park MD 20740 [email protected] Contents ©2011 by David E. Wilt except for material already copyrighted, which appears under the Fair Use provisions or with permission. 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