Aventurera

I'm intrigued by the distinctive film genres which evolve among the world's cultures. Germany developed the 'mountain film' genre, in which a male hero (or sometimes two male rivals) will achieve greater self-knowledge high up in the mountains, in the presence of a beautiful Aryan woman who embodies the earth-spirit. Mexico developed the 'wrestling mummy' movie genre, about which the less said the better. But Mexico is also the home of the 'cabaretera' genre of movie musical, in which a beautiful young woman is caught between a soap-opera plot line and elaborate floor numbers set in a nightclub. The 1950 film 'Aventurera' ('adventuress') is the best of the cabaretera films, and it's delightful ... it's hokey and implausible, but in a very enjoyable way.

MAJOR SPOILERS THROUGHOUT. Lovely young Cuban actress/dancer Ninón Sevilla stars as Elena, a virginal (but gorgeous blonde) Mejicana who is utterly devoted to her father. When Papa learns that his wife (Elena's mother) is unfaithful, he shoots himself. Elena abandons her villainous mother, and goes off to Mexico City to seek her fortune.

She meets a handsome young man named Lucio who offers to protect her, and who immediately takes her to meet a domineering woman named Rosaura who offers Elena a cup of tea ... which turns out to be drugged. Lucio and Rosaura are 'white slavers' who plan to force Elena to use her body for their profit ... but it's not what you'd expect. Instead of prostitution, they force her to perform as the star of a cabaret act! Elena's cabaret numbers are campy, but I was relieved that they never quite sink to the Carmen Miranda level. (I despise Carmen Miranda.) The musical numbers are impressively staged, on a large budget, and are enjoyable in their own right... all with a Latin beat. The title song, a gentle ballad sung by a male soloist accompanied by Spanish guitar, is wistful and haunting.

Eventually Elena escapes from the nightclub. She meets a handsome and wealthy young man who wants to marry her, but first he takes her home to meet his extremely respectable dowager mother ... who turns out to be Rosaura the madame! There is some witty dialogue here. Rosaura (in her second guise) offers a cup of tea to Elena, who replies: 'I had some once. I didn't like it.'

Although the plot line is outrageous, it's also extremely predictable ... because (except for her dead dad) every major character whom Elena meets in the first half of the movie turns up 'unexpectedly' in the second half of the film, so eventually these 'unexpected' appearances become very expected indeed. At one point late in the film, as Elena walked back to her hotel room, I found myself thinking: 'Lucio hasn't come back yet: it's just about time for him to escape from prison and come looking for Elena.' Just as I thought this, Elena walked into her room and switched on the light. Guess who's sitting there.

'Aventurera' has some very strong 'noir' elements. Except for Elena and her father, every major character in this movie is unsympathetic. Based on the worldview depicted here, almost all women are treacherous ... and almost all men are criminals and perverts who exploit women. Interestingly, the sleaziest character in this movie is also one of the very few sympathetic characters. This is a filthy little toad-like derelict named El Rana, who has a talent for throwing knives. He attaches himself to Elena and follows her about pathetically. His appearance and behaviour suggest a stereotypical pervert, but his interest in Elena really seems to arise from dog-like affection rather than lust. At the end of the film, El Rana murders Lucio with a well-placed 'cuchillo', then he watches approvingly from the shadows as Elena goes off to seek a better life for herself. It's clear that this strange little man's interest in Elena is unselfish, and that he realises he's unworthy of her.

I'll rate 'Aventurera' 8 out of 10. Its depiction of life in Mexico is wildly unrealistic, yet it still provides an interesting view of Mexican culture ... because this is the sort of story that many Mexican filmgoers want to see.

This greatly satisfying 1950 Mexican film, directed by Alberto Gout, is one of the best of the genre. It helped to have cast a charismatic Ninon Sevilla to star as the woman at the center of the action.

The story of "Aventurera", with its twists and turns, is something that was typical of the 1950s films from Mexico. The story of a young, and naive young woman who learns about her mother's disloyalty to a father she adores, sends this film spinning into a real adventure. Along the way, we are taken to watch Elena Tejero deal with the evils around her. She will remain a good woman no matter what.

As in all the Mexican soap operas that are a staple of that country's TV, "Aventurera" keeps building up on unsavory situations where our heroine will have to fight against until everything turns well at the end. Elena Tejera is different in many ways; she never stoops low to the sleazy life where everyone wants to get her into.

Ninon Sevilla, the Cuban born star of "Aventurera" makes a charismatic appearance in the film. She is a gorgeous woman seen here at the height of her youth. Tito Junco as Lucio Saenz has some good moments. Andrea Palma is excellent as the villainous Rosaura and Ruben Rojo is the kind Mario.

This is a fun film that keeps delighting us.

"Aventurera" has all the trappings of a modern, classic noir film. It contains, but is not limited to, an exciting robbery heist gone wrong, double crossing, sexual innuendos, a dastardly mother, and a femme fatale that can not only hold her own with the guys, but dance whenever a moment gets too tense. If it weren't for the subtitles or the Spanish-language, this little film could have been the next "Gun Crazy" (aka "Deadly is the Female"). Made during an era where films were willing, and excited to take challenges, "Aventurera" begins with a bang and ends with a bigger bang. It successfully keeps your attention through numerous characters, both evil and righteous, while continuing to keep you in the dark about the true motives of our heroine, Elena (played by Ninon Sevilla). It is a classic, it is independent, it is violent, but it isn't perfect. While I laud the work done on this film, it was not as entertaining as one may initially perceive. This is a noir film, it is stylish and backstabbing all at the same time, but there is another element throughout the film which heavily pulls it away from the true roots of the word "noir", and that my friends, is the nearly half-dozen song and dance routines smitten throughout. These songs, these two-steps, detract from what is happening, they pull you away from the world surrounding our characters, and honestly, are used as nothing more than filler. A 70-minute film easily became 101-minutes with songs diced throughout. It is the one crucial element that pulled "Aventurera" from a supporting noir to a mediocre entry into 1940s cinema.

What was there to enjoy about this film? Outside of the painful moments mentioned above, the characters were rich, the story was disturbingly dark, and the twists came from every angle, nearly a mile-a-minute. This was an action packed thriller that would have left little time for comfort had it not been for those songs. There were people we couldn't trust, people that we did – but betrayed us, there were scandals, there were loves, there were blackmails – everything was in place for a solid film. Even the subtitles were strong, giving us a strong plot and easily following structures, but those songs – ARG! I digress, Ninon Sevilla portrayed Elena as this no-nonsense girl who wasn't afraid to show her emotion and be the one to take the lead. Videohound's Independent Film Guide quotes, "Before we saw it ["Aventurera"], we'd never heard of its star, Ninon Sevilla, and now we can't wait to see some of her other movies…", and I couldn't agree further. She captured the audience through the screen. We followed her, willingly or unwillingly, we kept our eyes close on her every move, wondering when her next big move was being planned or what cog we were going to witness in her overall master plan. She made this film exciting. Sevilla could even sing and dance, and while it was a distraction from the film, she was graceful and elegant in the way that she did it. I cannot fault her, only the choice of the creators.

Speaking of the creators (awesome segway), compliments must also be awarded to the writer and director of this film. Sans the dancing and singing, this is a strong unknown entry into the world of foreign noir. The story was tight; the tension between the actors felt real, and the construction of the story seemed solid. There were elements that felt too lightly handled, but when it came to the big bang moments, the team behind this film had no problem showing us their goods. "Aventurera" shocked me, much like other films from the 40s, with its dark sexual undertones. From the beginning of our film, we are introduced to infidelity and prostitution, and the bus doesn't stop there. This pushed the boundaries for this film and demonstrated a darker side of noir that reminded me of an early American noir feature entitled "Detour". Just like Ulmer, the creators of "Aventurera" have no issues with showing us poverty, and how the corrupt value of money can spark even the slightest greed in any heroine. On a side note, I especially enjoyed the portrait of Rengo, this crippled sidekick that steps out of the shadows for his heart. "Aventurera" is a very suspenseful film, and was able to keep this audience right at the edge of my seat.

Overall, this isn't a perfect film. This is a noir film from the top to the bottom, but in the middle there is a muddled murkiness that doesn't seem to fit and was added just to appeal to a masculine audience. If I have said it before, I will say it again; the song and dance numbers were destructive to this feature. They felt like commercials, interrupting key moments with breaks, only to return with this viewer feeling less excited about the future. There is one song which Sevilla wears bananas while dancing which brought me into a frustrating sweat due to its similarities to a horrid pseudo-documentary entitled, "Carmen Miranda: Bananas Is My Business". This was the only moment where "Aventurera" felt stale and cliché. Was this overplayed Spanish-speaking cliché used only because it wanted to assure American audiences that they were in Mexico? Again, I cannot sit here and say that I loved everything about this film, because it would be a lie. I loved the juxtaposition between Sevilla and her arch rival, Rosaura (played by Andrea Palma) – their scene shot sparks from my DVD player. The characters are worth viewing this film once, maybe twice, but the songs are fast-forward-able. I can suggest it. See how dark in the late 1940s were for those living in Guadalajara.

Grade: *** ½ out of *****

Although they are often linked abroad, music and noir don't usually go together in Hollywood movies. Two exceptions are Anthony Mann's 1944 Minstrel Man and Gregory Ratoff's 1939 Rose of Washington Square in which Tyrone Power plays an even sleazier and less likable male lead than Tito Junco in Alberto Gout's celebrated Mexican noir melodrama, Aventurera (1950). At least Junco manages to stay on his feet, whereas Power not only runs out on and sells out the singing heroine (Alice Faye), but is deservedly beaten up by the comedian, as well as jumping bail and betraying his friends. He's not only a sneaky, repulsive, self-serving little rat like Junco, but he's cowardly as hell as well, which puts him one up on the Mexican "pretty boy". Like Rose, Aventurera is superbly photographed (by Alex Phillips) and also boasts a splendid gallery of supporting figures, led by Andrea Palmer's Joan Crawford-like madame and Miguel Inclan's remarkable Rengo who starts off as the most despicable criminal in the movie, yet becomes at the film's end by far the most sympathetic – and without changing his character! He's still just as hideously loathsome, but now we like him! A remarkable acting job by Miguel Inclan – and all in dumb show. He doesn't speak a word. And as for the lavish staging of the musical numbers, Aventurera easily gets the nod. Albert Ketelbey's "In a Persian Market" receives a truly rousing treatment not only from the orchestra and dancer-choreographer-heroine Ninon Sevilla, but from veteran film editor, Alfredo Rosas Priego (no less than 240 movies, would you believe?). As for Senorita Sevilla, she is nothing short of marvelous. (The film is available on two good DVDs, but the unsubtitled release has far better sound).

"Aventurera" has a good plot, but unfortunately the script was so watered down that all of its edginess is gone and what's left doesn't exactly make much sense. I assume it's because Mexican censors of the day wouldn't allow the film to be as explicit as it needed to be-- hence it comes off as a bit of a letdown. So, in many ways it is reminiscent of a post-code Hollywood picture--gutted of its sexuality and sordidness.

When the film begins, Elena is a happy young woman and her life seems wonderful. However, soon everything is in shambles and she's fighting to keep herself alive. It all begins when Elena's mother takes off with another man. The father, in his grief, commits suicide! Suddenly, Elena is forced to fend for herself and she cannot find a job. A 'friend' offers to help her and after he gives her some adulterated champagne, she awakens to find herself in captivity--forced to work for an evil lady.

At this point, you assume Elena is going to be a prostitute--and it looks as if that is what the film WANTS to say. However, this 'debased life' involves being forced to sing at a nightclub!!!! Huh?! Does this make sense?! Nah. They really are attempting, in a very clumsy way, to imply she's a prostitute and sleeps with customers--though you never see anything remotely like this and it's obviously a case of over-sanitizing the plot.

What follows is a plot by Elena not only to escape from her boss but to ruin her. The idea of this is great. But, like the whole prostitution angle, the film avoids the gritty angle and wimps out twice. First, the evil slasher Rengo inexplicably does NOT kill or disfigure Elena when he's ordered to but instead becomes her evil guardian angel. Why? I have absolutely NO idea. Second, after carrying out her plan to destroy the woman, Elena gets cold feet and backs off from her plan to ruin the 'lady' and her son. Why? Again, I just don't know!

Overall, this could have been a gritty and exciting film. Had it been made in France at the same time, it would have been dark and much less sanitized. While this is supposed to be one of Mexico's better films of the era, I just found it all to be a boring mess which again and again failed to capitalize on a decent story idea.