Enamorada

This might or not be a Mexican "Taming of the shrew", but certainly it's a classic from the Mexican golden era. Some might remember it as a Felix/Armendariz movie, but I can assure you it is a Fernandez/Figueroa movie for two reasons; "Enamorada" and "The Torch". By this time, Fernandez, Figueroa and Armendariz were already well known in Hollywood, not only because of their recent success of "Maria Candelaria" (with the former Hollywood star Dolores Del Rio) obvious reasons to bring a lot of attention. Maybe that's why it wasn't equally distributed and popularized in USA, perhaps someone fall in love with it, to the point of buying it and redo it in an English version. An English version that excluded Maria Felix, but included a former Mrs. Chaplin (who also produced) and Pedo Armendariz with some of the original crew, and Cholula and the volcanoes of Puebla in the background. But no matter what version you see first, this one is by far better, but not much more realistic, considering what was the reality of the Revolution years.

Armendáriz was terrific in this. I won't repeat the praises from prior reviews, I concur.

My only problem with this film is that it wasn't true to the revolution. In that sense, it was indeed a Fernandez film as neither was he true to the revolution. He gave a Cristero slant to the issues of Church/State and redistribution of wealth. Just take it as a love story set in the revolutionary period and try to ignore the political bias. Jeeze, you'd think he'd have shown more gratitude having been pardoned by Lázaro Cárdenas for his treason.

Pedro Armendáriz, María Felix and the town of Cholula were the great stars of this film. The exteriors were certainly shot in Cholula.

There were some snippets of revolutionary period music (La Adelita and El Tren) and an anachronistic performance of Malageña Salerosa when he had mariachi serenade María Felix. That song is so lovely, I didn't mind.

Looking at Emilio Fernández as Mapache in 'The Wild Bunch' it seems almost incredible that in his youth he was recommended by Dolores del Rio as the model for the Oscar statuette. What is indisputable is that he was one of Mexico's most powerful directors during its Golden Age.

Partly inspired by 'The Taming of the Shrew' and a traditional 14th Century Spanish tale this is the first of Fernández' three films featuring the indomitable Maria Félix and in Pedro Armendáriz she has found her ideal acting partner. Two strong personalities whose chemistry is palpable. The character of Beatriz is a quarry that can only be subdued by Love and although she may succumb to José she will of course never be truly 'tamed'. Indeed, why should she?

Believing that film represented 'the most splendid means of expression', Fernández found a soul mate in cinematographer Gabriel Figueroa, one of Cinema's great pictorialists whose images have been described as 'murals in movement.' He was also blessed to have the services of editor Gloria Schoemann who reigned supreme at a time when Mexican culture regarded editing as an unsuitable job for a woman.

Four years on came a remake entitled 'The Torch'. Despite having the same director, cinematographer and leading man, it is alas marred by an embarassingly coquettish performance by a thirty-nine year old Paulette Goddard. It is a sorry affair that simply serves to confirm the magnificence of the original.

A batallion of Mexican revolutionaries comes into a Mexican town and the leader of the band falls for the daughter of the of the town's wealthy class.

There must be some symbolism in there, but it's not transmitted very deftly.

The movie is mostly somber. There are a few pieces of questionably convoluted political dialogue as the characters argue with each other and plenty of executions by firing squad. What struck me most about the film is the fact that there are some real lapses in tone, such as when the general flies off a horse or a scene where there's some slapstick with a log.

The romance is not very well-developed. The guy catcalls the woman and she slaps him... and slaps him and slaps him... And he keeps pursuing her until she gets with him. Nevertheless, as with most of these old Ariel winners, it was probably meant to be a symbolic and not realistic movie - the poor and the rich finding peace with each other. But it's not particularly well-done.

It's a little better than the standard fare for the era and certainly watchable, but nothing special. Good battle scenes, though!

Honourable Mentions: White tiger (2021). A film about the plight of the poor at the hands of the cruel rich. Excellent movie.

Romantic melodrama at its best, if you ask me! I still remember the reaction of the international audience who saw this motion picture as part of the homage to Fernández in La Habana Film Festival, half a century after its original release: as the word "Fin" appeared on the screen, people stood up and applauded in a mix of emotion, humor and excitement. Because watching a celebrity as "La Doña" hit the dusty road as a common soldadera, following the officer she loves during Mexican revolution in 1910, is something to cherish, laugh at and applaud. In Cholula, a general falls for the beautiful, haughty daughter of a landowner, engaged to an American, so it is "The Taming of the Shrew" time once again. And believe me, it is a pleasure to watch the duel between Félix and Armendáriz as the Trío Calaveras sings. Ariel Awards for Best Direction, Actress, Cinematography (Gabriel Figueroa), Film Editing, sound and new actor (Eduardo Arozamena). A special Golden Ariel was given to director Fernández.