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Not of the kind of films that made Buñuel famous worldwide, this is one of the good old movies that you have the chance to see in the Mexican TV 3-4 times per year. This ever popular film is really a comedy with some dramatic brushwork here and there and the kind of extreme human characters that you expect from the director to work with.

Fernando Soler is simply excellent as always and Fernando Soto has some great comic moments. Lily Aclemar is my favorite among the women (with a nice musical number as well), as for the rest of the cast, I think they really won their pay check.

A very presentable work from the golden period of the Mexican cinema, maybe typical of it's time, but nothing more than that really.

I don't know if laugh or cry, starting as usually Bunuel always does, in a strong dramatic way, however the picture will slowly drifting to a easy comedy, a pair of funny characters a kind of bodyguard of the cabaret's boss called simply as Infierno who were intruduced in the plot in mexican style, the owner Don Quintín played by Fernando Soler becomes to a bitter and bad temper man when he dissolves a failed marriage even having a little daughter who he didn't believe being own blood, despite the story has a dramatic approach the duo comic guys Angelito & EL Jonrón are the true bright stars who stolen fully the movie, there are many gags and jokes becoming a pleasant picture, it doesn't seems to be a Bunuel's movie actually, but has their enchants for so pure feelings, the mexicans are great ever!!!

Resume:

First watch: 2012 / How many: / Source: DVD / Rating: 7.5

Although this might be a minor genre movie from Luis Bunuel's Mexican period and, in fact, I had rated it half-a-star less upon first viewing three years ago at London's NFT retrospective, I found myself repeatedly laughing so hard this time around that I decided to boost my opinion of it from an "above-average" to a "good" one. But that is Bunuel for you and, actually, one of the main reasons why he is my all-time favorite film-maker bar none – because, no matter how serious the themes he is rigorously treating in any particular work (poverty, adultery, prostitution, etc.), he never sentimentalizes them and takes care to entertain and enlighten his audience at one and the same time.

The storyline is pretty simple: a small-time businessman with perennially misfiring schemes dodges the constant nagging of his wife through his frequent traveling; however, when one night his train is delayed on account of a landslide, he returns home to find the latter in the arms of his best friend. In the ensuing fracas, so as not to take it away from her, she tells him that he is not the father of their child – which leads the enraged man to vindictively dump the baby onto the doorstep of the town drunk! Cut to twenty years later (via the ingeniously economical transition of opening and closing a cupboard) and the girl – who has blossomed into a good-looking woman – seeks to escape the beatings of her foster parent and, inadvertently causing a traffic accident during one of her flights from home, proceeds to fall for her handsome 'road victim' (played by Ruben Rojo, in a similar role to the one he had had in Bunuel's 1949 comedy THE GREAT MADCAP). Her stepsister is a feisty girl with a mind to becoming first an actress and then a chanteuse in a cabaret; this desire eventually brings her into the businessman's locale (amusingly named "L'Infierno") – cue a non-gratuitous musical number which not only brings the two siblings together again but also paves the way for the proverbial happy ending in store for everybody (once all the considerable and long-standing misunderstandings have been sorted out) as father and daughter are finally reunited once again. Indeed, in this movie, it is the home environment which breeds distress and pain while, contrary to the norm, it is within the confines of a nightclub that moral wrongs are righted.

What promises to be simply a routine and bland melodrama for women is transformed by Bunuel's deftness for comedy in a well-crafted, very entertaining and unpretentious little movie. Portraying the father as a larger-than-life figure the likes of which Anthony Quinn would virtually make a career out of in a few years, Fernando Soler – already twice a star for Bunuel in THE GREAT MADCAP and SUSANA (1951) – becomes a veritable nihilist with the passage of time, forever losing his temper with everybody at the slightest provocation To counter this boorish character, Bunuel gives a free hand to his two bumbling (but occasionally ingenious) henchmen perfectly essayed by Fernando "Mantequilla" Soto (who later co-starred in Bunuel's picaresque 1954 film, ILLUSION TRAVELS BY STREETCAR) and Nacho Contla (as a character named Jonron, a broken English rendition of his favorite catchphrase, "Home Run"!). While these two start out as antagonists – the former a bouncer/croupier and the latter a gun-toting, shamelessly cheating gambler – in a hilariously ineffective confrontation early on in the film, they eventually become buddies when hired (and, subsequently, slave-driven) by their anguished employer Soler to seek out his missing daughter. Before long, however, they start devising cleverly funny schemes with which to deceive their boss into believing that they had been "running across half of Mexico" in hot pursuit of their quarry...when actually they had been eating and drinking their time away!

Having said that, the dramatic stages of the movie – a couple breaking up and the father unknowingly humiliating his daughter when they meet again many years later – reminded me of two Josef von Sternberg movies – respectively BLONDE VENUS (1932) and THE SHANGHAI GESTURE (1941); the gambling subtext here is also another connection to the latter. Even if Bunuel never really enjoyed the same reputation as a visual stylist like that Austrian émigré, I must say that I was impressed (and surprised) by how exceedingly well lit this film was. Speaking of Austrian auteurs, the fact that Bunuel had already been involved in adapting the same source novel "Don Quintin The Bitter" for the screen back in his native Spain in 1935 (there was even a 1925 Silent) and only got to make his own version long afterwards (shot in just 20 days and released on my own mother's sixth birthday!) equates it with a similar occurrence in his own cinematic idol's career i.e Fritz Lang's epic Indian diptych of 1958-59, which had already been filmed as THE Indian TOMB in 1921 (by Joe May), and further remade by other hands in the interim (in 1938)! Actually, the new title DAUGHTER OF DECEIT is a misnomer since the wife swears the girl is Soler's anyway; in fact, it would have done better to keep the original one since Don Quintin is clearly the protagonist of the piece.

This is just a comment about another reviewer (pablo1) who obviously did not see the film and could not resist putting a comment. First, Don Quinquin did not imagine that his wife betrayed him as he came upon her in bed with his best friend. Secondly, he chased his wife away WITHOUT their daughter and as she told him that the child was not his (a lie in order to keep the baby), he took the girl away and abandoned her. The mother never saw her again and was never told what became of her. Quinquin did not know that his daughter was ever married until the very last moment and only then did she told him that she was pregnant. I would appreciate if "would be" reviewers made the effort to watch the film, otherwise, why bother ? Thank you.

Considered one of Buneul's less characteristic more main stream Mexican movies, Daughter of Deceit is nevertheless compelling and a times amusing with some Bunuel touches along the way. The main character Quintin's transformation from a loving but unambitious husband to a hard nosed ruthless Casino boss seems abrupt. But since his wife has cheated on him and he now believes his daugher is not his, it isn't exactly unbelievable.

As in all Bunuel films he manages to get excellent performances out of the entire cast. Plus there's comic relief whenever Quintin's 2 bumbling heavies make an appearance. It may not be among his masterpieces but Daughter of Deceit is not a bad movie.

This is a minor entry in Bunuel's Mexican period. It's a farce of sorts, that starts as a melodrama and ends up like a screwball comedy. There are some little Bunuel touches here and there, especially in the first half of the picture, but all in all this can't account among Don Luis' most personal films. Technically it is as usual superb. There's one elegant 20 year transition that takes place in the dark between the closing and opening of a cupboard and a puzzling breaking of the fourth wall at the end, when Don Quintin approaches the camera and talks to the audience before going back to the happy ending. I liked the idea of a cabaret called El Infierno decorated with flames and big puppet devils hanging from the roof. Only a man like Bunuel could come with such stuff.