Femmina diabolica

I don't know why other posters refer to Barf Bags and witch hunting in their reviews. I'm pretty sure it has absolutely nothing to do with this film, in which a woman, after committing a murder in the first scene, flees into a church, confessing her life story to a priest.

It is this story of hopeful marriage, the indignities brought on by her ambitious husband, and her vow to raise her daughter sheltered from the corruption of the world of men, even if it means damning her own soul.

Of course, nothing as extreme as witchcraft occurs. She gets the nickname 'Doña Diabla', or Madam Devil, mainly for her reputation for seducing men and ruining their lives. She becomes a shrewd manipulator and a skilled businesswoman. She gets involved in adultery, shady financial deals, marriage-breaking, leading others to ruin and even driving a woman to suicide. Of course the film redeems her because she did it all to provide her daughter with a decent, wealthy life.

It stars the glorious Maria Felix, a woman suited for a close-up, if there ever was one. Films like this made her reputation as a headstrong diva that was willing to play in the world of men by her own rules. This of course made her a National Legend, and she was the most popular actress in Mexico's Golden Age.

Of course.. this film has nothing to do with witchcraft, barf bags, or even nudity, this was after all, filmed in 1950!. I can only try and guess what those other posters had on their minds!!

Capably directed by Cuban-born Tito Davison whose films are a mixed bag to say the least and ostensibly based upon a play that was a great success for Maria Guerrero, a contemporary of Sarah Bernhardt, this maternal melodrama would appear to owe more to 'Mildred Pearce' which won an Oscar for Joan Crawford and here the force of nature that is Maria Félix picked up Mexico's equivalent award the Ariel for the third time.

This is of course a perfect vehicle for her as she is obliged to go through all the emotional gears but the film's effectiveness is weakened somewhat by editing that crams her progression from wide-eyed bride to avenging angel to devoted mother to fashion designer with a silver streak in her hair into a remarkably short space of time and it is left to our imagination to fill in the blanks.

Brothers Tito and Victor Junco excelled at playing unspeakable cads and here Victor does the honours. Félix is ravishingly photographed by Alex Phillips, one of the Holy Trinity of Mexico's cinematographers although a Canadian by birth whilst her passionate intensity carries the film along and helps one overlook the implausible goings on.

By all accounts she refused the blandishments of Hollywoodland and turned down the role of 'The Barefoot Contessa'. Now that would have been something, no disrespect of course to the glorious Ava Gardner.