1909, a detachment of the Mexican army commanded by Captain Allende moves to Clipperton, also called the Island of the Passion, in the Pacific. After the outbreak of the revolution, the island becomes administered by the government of France, events that in principle go unnoticed by the islanders.

1963 Mexican-Guatemalan film directed by Emilio Fernández

1952 film by Emilio Fernández

Reactionary local "Big Daddy" tries to prevent a school being built in his district.

1946 film by Emilio Fernández

In a small Mexican village the news shock neighbors, Ricardo Alfaro, a wealthy local rancher has disappeared without a trace. Taking advantage of the circumstance, Aurora Campos, a strong woman with overwhelming beauty, convinces the authorities to sell her the property in exchange for twelve thousand dollars. Soon after, when Ricardo suddenly reappears, a real battle is about to begin.

The story of the doomed love between Soledad and Román. She is the daughter of a rich man that wants to marry her with Ernesto, nephew of his friend, the judge. Román owns a little ranch. A brawl in the town will unleash several deaths that will affect the already difficult relationship.

The story of a fear-inspiring revolutionary general who develops a passion for the daughter of a wealthy villager. It's hate at first sight so far as the girl is concerned, but this will soon change.

Antonio dives for sponges which are sold by his sweetheart Rossana. One day, the escaped prisoner José-Luis appears and is hid by his friend Antonio. Although José-Luis does not want to betray his friend, a love affair with tragic consequences between him and Rossana develops. The Net was one of Mexico's entries at the 1953 Cannes Film Festival.

1942 film directed by Emilio Fernández

The film features Fernandez himself as a character named Rogellio Torres. The lion's share of the footage, however, is devoted to the romance between Esperanza, granddaughter of a common laborer, and Jose Luis Castro, the firebrand son of a landowner. Joining a revolutionary movements, Castro is disowned by his father, but Esperanza remains loyally by his side. Later on, Castro's father is killed by outlaws; in seeking vengeance, he sacrifices his own life, while Esperanza carries on his revolutionary work with their young son in tow.

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.

1951 film by Emilio Fernández

1949 film by Emilio Fernández

1954 film by Emilio Fernández, Íñigo de Martino

Hailed by critics as one of the best Mexican films ever made, VICTIMAS DEL PECADO explores the mysterious, exotic underworld of postwar Mexico City. Violeta (Ninon Sevilla), a beautiful cabaret dancer, rescues an abandoned baby from a garbage can and decides to raise him. Love blossoms unexpectedly when Santiago (Tito Junco) meets Violeta in the red light district and protects her from the perverse pimp that shadows her life. Powerfully told, the story unfolds in the midst of nocturnal ambiance with musical numbers by mambo king Damaso Perez Prado, and Pedro Vargas, one of Mexico's most popular singers of the era. Featuring the astounding direction of Emilio "Indio" Fernandez and the stunning cinematography of Academy Award nominee Gabriel Figueroa, VICTIMAS DE PECADO is an international classic.

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.