With the important Mexican team that did the most famous films of director Emilio Fernandez ("Flores Silvestres", "Maria Candelaria", "Las Abandonadas" ...): Dolores del Rio, Pedro Armendariz and cinematographer Gabriel Figueroa, based on work Graham Greene's "The Power and the Glory" outstanding writer and an actor of the caliber of Henry Fonda for the leading role, everything seemed to assume that it would result in another great drama like that in the 30s and early 40s we had given the remarkable director John Ford.
The story begins with a perfect plane: after wandering a good trip, Henry Fonda comes to the doors of a church in a altosano. When you open the doors, we see from the inside and then pushes the wings leaving a cone of light entering from outside. He stops for a moment with arms outstretched and thus draws a significant cross that serves as a signal to understand that we are facing another martyr. Then his personality is revealed and we know that is a priest, a fugitive from an authoritarian system that pursues anti-clerical.
And then guess the first flaw of the script by Dudley Nichols: Spend a long time before we see a significant gesture that motivates us affection and empathy with the priest or to explain that it is unjust persecution that is being targeted. In addition, certain to appease the church, the writer removes all characters in the work of Greene, recreating the priest as an earthly man, and prefers to characterize it as a man who does not break an egg and is left to manipulate the whole who wants to do. ¡Pure fiction!
Credits, to emphasize the universality of history are made in the manner of Chaplin: Henry Fonda... a fugitive, Dolores del Rio... an Indian woman, Pedro Armendáriz... a lieutenant And soon we realize: It is neither more nor less than the story of Jesus, moved to the 40s of the twentieth century, which is telling us. Of course! María Dolores is none other than Mary Magdalene and the bounty is the same Judas. The triangle of Nazareth to the mero mero.
Unless the pertinent images Figueroa, nothing relevant that this film offers us nothing in surface waters and quite sugary.
The story begins with a perfect plane: after wandering a good trip, Henry Fonda comes to the doors of a church in a altosano. When you open the doors, we see from the inside and then pushes the wings leaving a cone of light entering from outside. He stops for a moment with arms outstretched and thus draws a significant cross that serves as a signal to understand that we are facing another martyr. Then his personality is revealed and we know that is a priest, a fugitive from an authoritarian system that pursues anti-clerical.
And then guess the first flaw of the script by Dudley Nichols: Spend a long time before we see a significant gesture that motivates us affection and empathy with the priest or to explain that it is unjust persecution that is being targeted. In addition, certain to appease the church, the writer removes all characters in the work of Greene, recreating the priest as an earthly man, and prefers to characterize it as a man who does not break an egg and is left to manipulate the whole who wants to do. ¡Pure fiction!
Credits, to emphasize the universality of history are made in the manner of Chaplin: Henry Fonda... a fugitive, Dolores del Rio... an Indian woman, Pedro Armendáriz... a lieutenant And soon we realize: It is neither more nor less than the story of Jesus, moved to the 40s of the twentieth century, which is telling us. Of course! María Dolores is none other than Mary Magdalene and the bounty is the same Judas. The triangle of Nazareth to the mero mero.
Unless the pertinent images Figueroa, nothing relevant that this film offers us nothing in surface waters and quite sugary.