La ausente

We hear the noise of a car starting. A man, Jorge (Arturo de Cordova) cries: "Isabel". The car accelerates, and drives through a winding road... faster... faster. A tree, a crash, fire.....

Isabel died in a car accident leaving behind Jorge and their little daughter Rosita (Angelica Maria). In the great mansion lives also Magdalena (Maria Douglas), Jorge's sister-in-law. There's a strange atmosphere in the house. There's a ghost hovering around and it's not Isabel's ghost - the characters live and move as under the weight of a shadow.

Magdalena (Jorge's sister-in-law) leaves the house to visit her parents. She will be absent for some weeks. Now Jorge and his daughter Rosita (excepting the servants) are alone in the house. Then, one day, as Jorge is lost in dark brooding, the doorbell rings. Jorge opens the door. He sees a girl. She says that she had been hired by Isabel to take care of Rosita. At first, Jorge is shocked, but eventually he hires her as Rosita's governess. Her name is Monica.

Monica (Rosita Quintana) is a very attractive and sensitive girl. It doesn't take long for her to win Rosita's heart.

When Magdalena returns home (after some weeks' stay with her parents), the status quo has changed and the atmosphere becomes at once charged - dark hints will be dropped, double-meaning words are exchanged, unknown and unsaid things seem to threaten the peace in the house. Only Jorge's sister, Cecilia (Andrea Palma) seems to watch it all with calm and understanding eyes. All this is underlined by the rich soundtrack (even if a bit melodramatic), the camera movements, and the emotional intensity conveyed by the actors (especially Arturo de Cordova, Rosita Quintana and Andrea Palma).

"La Ausente" may be a little bit dramatic , but it's a psychologically rich film with many layers. The actors are excellently directed and manage to give all of themselves to their characters. Add to this the beautiful soundtrack and cinematography and you'll have an engrossing film.

An interesting film with an unexpected end... Contains, love scenes, drama, mystery and a great story that covers a wide spectrum of psychological performances, inside scenes full of emotion with Jorge (Arturo De Córdova) that fell in love with Mónica (Rosita Quintana), passion developed in front of their jealousy antagonist, Magdalena (María Douglas). Again, a superb performance of Arturo De Córdova with extended and extraordinary dialogues that shows really a contemporary gentleman inside intelligent love relationships that nowadays, one can hardly find. It's a worthwhile film, a must for the Arturo De Córdova's fan!...Highly recommended... Good Luck!

Widower Jorge de la Cueva, whose wife has died in mysterious circumstances, falls for Mónica and marries for a second time, only to find that his late wife's presence hangs over the house..........

We could be forgiven for thinking that we are in Daphne du Maurier country here but of course being a Mexican film the emotional thermometer almost reaches boiling point. Matters are complicated further by his marriage arousing the envy of his sister-in-law Magdalena who secretly loves him and makes life for his new bride unbearable until his blood-sister Cecilia steps in and saves the day........

The casting and performances of the principals here is spot on. The character with an 'edge' is one that Arturo de Córdova plays to perfection and as the brooding, troubled Jorge he is simply superlative. This could not be a greater contrast for Rosita Quintana who had recently impressed as the mentally unbalanced nymphet in 'Susana' for Bunuel. As Mónica she initially looks as if butter wouldn't melt in her mouth but soon proves that still waters run deep. The honeymoon sequence is deeply sensual and the 'chemistry' between her and de Córdova is palpable. María Douglas is just right as the vixenish Magdalena whilst the film benefits greatly from the presence of Andrea Palma as Cecilia. She has succeeded in making a seamless transition from Prima Donna to character actress and is here working once more under the direction of her brother Julio Bracho.

The production values here are splendid and the film's glorious 'look' is courtesy of lighting cameraman Alex Phillips. The score is a little OTT but that after all is Raúl Lavista's style.

This is unashamed melodrama to be sure but what one critic termed 'the intelligence and wide cultural sensibilities' of director Julio Bracho make it so much more.