The building of a railroad under tough conditions from searing heat to freezing cold in the Sonora desert provokes clashes of passion and struggles between the engineers and the workers at the campsite. The workers also contend with sudden dust storms that are called the 'black wind'. Based on true events.

The Los Angeles police know that Pete Ritchie has been bringing drugs into the city, but they can't pin a single piece of evidence on him. After many botched attempts to get at the crook, they resort to having cop Madeleine go undercover and seduce her way into Ritchie's circle. Before she can get anywhere, she's abducted by Johnny, a government agent posing as a thug. But Johnny and Madeleine have no idea they're on the same side of the law.

1948 film by Emilio Fernández

Mercedes works as a cabaret performer to pay for her sister's studies. Problems begin when Mercedes and Paco, her exploiter, win a dance contest, but he refuses to share the prize with her.

A story about two men caught in the Mexican revolution: close friends before, but now on the opposite sides. One of them is military officer, while the other one expects capital punishment. The prisoner's mother comes to visit his son, unaware that his former best friend is now his enemy.

1959 film by Juan Antonio Bardem

A newly married American couple vacationing in Mexico is prevented by the police from leaving Acapulco when the husband becomes prime suspect in a local girl's homicide

Marcos is an arrogant jai-alai player who seduces and discards women until he himself becomes the object of a cunning revenge.

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.