|
María Eugenia (1943)
Character: Matilde
Before marrying María Eugenia, landowner Carlos are away to visit her godmother to break the promise to marry his daughter. The godmother is dying, Carlos quiets and everything takes an unexpected course.
|
|
|
El derecho de nacer (1952)
Character: Sra. de Don Nicolás
In Santiago de Cuba in the early 1950s, history begins. A young woman of high society becomes pregnant with a false love, her father orders his black maid (Dolores) to kill the baby (Alberto), but she flees to Havana where Alberto becomes a renowned doctor.
|
|
|
|
|
Ojos de juventud (1948)
Character: Doña Julieta, portera
A bad woman exploits her husband's love. Infidelity, illegitimate children, self-sacrificing fatherhood... Also: Cabarets!
|
|
|
La loca de la casa (1950)
Character: Doña Elvira
A nun reevaluates her life and decides to give up her vows to marry and help her father.
|
|
|
Tentación (1943)
Character: Madre de las tanguistas
Upon reaching the capital, an old man and his daughter are victims of abuse, where their goodwill becomes the way to gain control of the low instincts of a man who sought favors he did for an uncontrolled temptation.
|
|
|
Amor a la vida (1950)
Character: Juana Merced
During the times of Venezuelan dictator Juan Vicente Gómez, an exhausted stranger arrives at a farm and starts to help the owner with the legal status of her land.
|
|
|
|
|
Felipe de Jesús (1949)
Character: Teresa, Criada de Rosalia
Biography of the first Catholic Saint to be born in Mexico.
|
|
|
Flor de durazno (1945)
Character: Doña Panchita
City slicker scams on young farmgirl while her fiance's in USA on a work permit.
|
|
|
Resurrección (1943)
Character: N/A
This is an early film from Director Gilberto Martinez Solares, who would go on to become better-known for his unique perspective on horror films of the 60's and 70's - like "Santanico Pademonium" "Face of the Screaming Wolf" and his own "House of Terror", (these features, in turn, would inspire future award-wining Directors such as Tarantino and Del Toro). As far as Resurreccion goes, it is a semi-historical Drama, based on Leo Tolstoy's novel also titled "Resurrection" . However, Solares' movie loosely uses the start of the 1910 to 1920 Mexican Revolution as its cornerstone, (instead of the Russian battle that Tolstoy relied on for his 1899 literary work ). It essentially documents one man's effort to find redemption for his past sins. It stars actors Emilio Tuero, Lupita Tovar, Sara Garcia and Jose Pulido, among others.
|
|
|
¡Esquina bajan...! (1948)
Character: Doña Chabela
Driver Gregorio del Prado and fare collector Regalito were suspended for deviating from their route to impress a young woman named Cholita.
|
|
|
|
|
Santa (1943)
Character: Nicasia
Santa is a beautiful and very humble young girl living in Chimalistac, a small and quiet spot south of the 1930's Mexico City. After Santa is cheated by arrogant soldier Marcelino, she's rejected by her family and friends and expelled of Chimalistac. Santa finds shelter in a whorehouse and becomes a cinic and bitter woman, mistreated by bullfighter "Jarameno" and silently loved by blind pianist Hipolito.
|
|
|
El amor no es ciego (1950)
Character: N/A
A boxer wins a championship but he is injured and forced to retire. After that he falls in love with a blind girl.
|
|
|
Yo quiero ser mala (1950)
Character: Ama de llaves
In this Romantic-Comedy from Director Rene Cardona, Actress Maria Elena Marques plays a hard-living woman named Leticia, who suffers from a recently broken heart after being deceived by her ex-boyfriend. Soured on anything to do with love and while drinking away her sorrows, she sets out to marry the very first man she sees. This man just happens to be a nice guy named Roberto, (Abel Salazar). Although the pair's mutual attraction to each other is obvious, Roberto has no idea what he is in for, and he soon proposes. Not long after the marriage, Leticia starts to take advantage of both Roberto and her new Father-in-Law (played by Oscar Pulido), who shows kindness towards the girl. Predictably, marital bliss soon turns into discord, and the couple agree to divorce after a year passes. Their love-hate relationship and pending break-up provides a perfect backdrop for several comedic situations before the two realize that they are actually in love.
|
|
|
|
|
El príncipe del desierto (1947)
Character: Sra. Monroy
A girl meets a young boy in Arabia who falls in love with her. When they grow up, he goes to Mexico while hiding the fact that he is a prince.
|
|
|
|
|
|
|
|
|
La Fuga (1944)
Character: N/A
A stagecoach full of conflictive passengers makes its dangerours way from Mexico to Veracruz during the days of the French Intervention.
|
|
|
La corte de Faraón (1944)
Character: Widow
The wise men of the kingdom interpret a dream of Pharaoh and decide that Putifar, a victorious general, should marry Lota, a virginal slave.
|
|
|
Una familia de tantas (1949)
Character: Doña Gracia Cataño
The dynamics of a typical middle-class family are shaken up after the introduction of an enthusiastic door-to-door vacuum salesman.
|
|
|
Historia de un gran amor (1942)
Character: Polonia
Manuel leaves town leaving Soledad in deep sadness. After several years of absence, the young man returns to find Soledad married to Antonio. However, the woman continues to be in love with him and both are determined to consummate their love.
|
|
|
El Mártir del Calvario (1952)
Character: Suegra de Pedro
The life of Jesus from the beginning of his ministry, his miracles, the Sermon on the Mount and his death on the cross.
|
|
|
El rey del barrio (1950)
Character: Carmelita's Aunt
A poor man becomes a modern Robin Hood, robbing the rich to give to the poor.
|
|
|
El ametralladora (1943)
Character: Celestina
Peasant farmer and landowner are rivals for a woman. Sequel to Ay Jalisco No Te Rajes.
|
|
|
La monja alférez (1944)
Character: Doña Cristina
A 17th century woman, imprisoned for fighting in a bar, recounts her past to a priest. She tells of her father teaching her how to fence, of being sent to a convent by her aunt when her father died, of escaping by dressing as a man, and of her life as a man following the escape.
|
|
