Salomé

but like many soap operas, it is a real travel. lights, tragedies, love, sacrifices, the fight for truth and justice. and the show. a film about the lights and the rules, the appearances and the force of show. good cast, interesting script, smart details and beautiful music. and, sure, Edith Gonzalez who does , not surprise, a beautiful job. a series who respects the recipes of genre but, in same measure, propose something different. not a spectacular story but almost a magic one because the slices of fairy tale and the reflection of every day problems, the success and the errors are , scene by scene, pieces of a seductive construction. one of soap operas who reminds, in the clothes of genre, the basic things who defines life. with real success.

Although this show is one of my favorite, it has lost its magic after Salome got pregnant. All problems were around her baby and affair between Julio and Salome was put on second place. Edith Gonzales and Guy Ecker have the most awesome chemistry i have ever seen in novela. This novela has also very good story. I liked it.

dramatic, romantic, naive, out of logic. but charming. love in different aspects. and the fight for love. a story about family and friendship. the flavor of old fairy tales. nothing new from a soap opera. but useful for admirers of genre. and for the good performance of Edith Gonzales in a role who is not original but well made. a series who reminds values and dramas and fight for be happy. and, sure, the social differences. in same measure, a good point is the wise manner to present the universe of show. and, sure, the performance of Niurka. slice of a genre, Salome is a must see for the fans of South American soap opera .

A very gutsy story, challenging the audience to embrace a heroine who is (initially at least) uneducated, somewhat vulgar, and clearly out of her element in the upscale hero's environment. Edith Gonzales, whom I have seen before in CORAZON SALVAJE and EN CARNE PROPRIA, is in top form and clearly deserves next year's Best Actress (Protagonist) award for this performance.

Salome starts out as an abandoned child forced to survive in a world where women alone are regarded as suspect and are easily victimized. She is currently dealing with the consequences of bad choices she has made in the past and ones that aren't such a good idea now. She's not all that easy to like in her early episodes, but after a while you realize that she has been a victim and is now clearly determined not to be one for the rest of her life.

Julio, the hero of this tale, is given more on his plate than usual in the sense that we are asked to accept that he really believes that he loves both Angela and Salome. I think it's easier to accept him because of his harpy of a mother and how she must be affecting his view of women in general.

Maria Rubio is the perfect mother from hell. I am waiting to find out whether her machinations will make Salome into another Stella Dallas or Madame X, considering that the main part of the story is taking place in 1980.

The amount of bare flesh exposed in this series seems to be pushing the envelope a little for Mexican television, and does so appropriately. Niurka Marcos and the older actress who plays Yolanda should be noted for their courage to do this.

There's a lot of good music in this series as well. Its current time slot is appropriate; this one is not for kids.

Everyone in this telenovela played their part. Edith Gonzalez and Guy Ecker are perfectly matched. Sebastian Ligarde once again proves that he is the best whenever you need someone to play an extremely despicable and sleazy villain. Maria Rubio, Aaron Hernan and Patricia Reyes Spindola all turn in memorable performances. And even Niurka delivers an outstanding performance; her "reunion" scene with Gonzalez is undoubtedly one of the most heart breaking ever made for a telenovela. However, I only had one reason for watching this series, and her name is Yuliana Peniche (No relation to leading man, Arturo Peniche.)

As Ramona, aka Money, Peniche turns in a delightful performance. Like Yazawa Shin's Sumika in the Japanese drama "Oyaji," Money is the comic relief character that manages to steal every scene she is in. Throughout the second half of the series (Peniche doesn't appear until the second half of the story), Peniche's Money dons various costumes as she impersonates various figures: Joan of Arc, a charro (mustache included), Little Red Riding Hood, the Statue of Justice (blindfold included), Esmeralda from the "Hunch Back of Notre Dame," and Cleopatra. (WARNING: her "yellow face" makeup when she impersonates a Chinese woman will offend many as grossly racist.) Although this might be an exaggeration on my part, this role might very well be the break through performance of this up and coming actress. Hopefully, we will all see more of Yulian Peniche in the very near future. Her acting in this drama was memorable.