Customer Reviews

Maria Candelaria [VHS]

5 star:		(8)
4 star:		(0)
3 star:		(0)
2 star:		(1)
1 star:		(1)

 

 

I've been eager to acquire this film on DVD because it's one of the masterpieces of the golden age of Mexican cinema, with outstanding cinematography and a marvelous, romantic story; however, after purchasing it, I was very disappointed with the overall technical quality of this particular DVD version, but that's just my opinion as a consumer who prefers more pristine versions of great motion pictures. This movie won the Grand Prix in Cannes in 1946! It deserves a much, much better edition on DVD. If you have not seen this excellent classic--it was photographed by the very GREAT Gabriel Figueroa, and all the more reason why a more pristine version would have been fabulous--I think you'll find it quite moving and beautiful.

A beautiful love story between a man, a woman... ...and a pig! You think I'm kidding, right? Wrong! And don't expect any of that Tarantino-south-of-the-border stuff either; this one is for real, and quite old-fashioned. Believe it or not, there was a time when the best cinema in Spanish was made in Mexico, and if I had to choose its best movie, I'd say without a doubt "María Candelaria".

Gorgeously filmed in beautiful Xochimilco (back when it was beautiful) by the great Gabriel Figueroa, it boasts terrific performances by both Pedro Armendáriz Sr. and Dolores del Río (her best film, no doubt), and remains today a cultural icon throughout the Spanish-speaking world. Emilio "Indio" Fernández directs. Don't you remember him? He's the abominable villain in Sam Peckinpah's "Wild Bunch"! He's also one of the greatest auteurs of all time. If you don't believe me, get this gem and see for yourself!

I must say I do sympathize with the prior reviewer, as Maria Candelaria (Xochimilco) is a very subtly classic film that is not so immediately striking. Like most Mexican films of the period (and especially those of Emilio Fernandez) it is extremely melodramatic at times (Maria is waiting for her piglet to grow up before she can sell it to buy a dress so that she can get properly married!). Yet the songs we hum upon first listen are rarely the ones that stand the test of time. Personally, I did not find much in my first viewings of either The Grand Illusion or the Third Man, two of the greatest of classic films. Maria Candelaria, not unlike those films, is a nut which is not cracked and swallowed whole on the first try.

Del Rio is largely forgotten in the U.S. today (not to mention in Mexico), but she was one of the biggest Hollywood stars of the late silent era. She was married to the man who designed the Oscar statue. Even as late as '33, she still got top billing over Ginger Rogers and Fred Astaire. In 1942, Orson Welles fell madly in love with del Rio after working with her in Journey into Fear. Her return to Mexico in 1943 was considered quite a big deal.

Regarding the film's place in time, it helps immensely to first watch Fernandez's two prior efforts, Soy Puro Mexicano (1942) and then Flor Silvestre (1943), to get an idea of the level of progression which took place here. Soy Puro Mexicano looks like an even cruder Mexican WWII spin-off of Hitchcock's 30s British style. Flor Silvestre follows much the same storytelling pattern as Maria Candelaria, but it looks much more rudimentary in execution. Maria Candelaria marked the first truly high water note of the Fernandez/Figueroa style, in 1944, which they often equaled but never really surpassed. Thus this film stands all the taller for its early date of production. And comparing it to American films of the same year (almost pure war propaganda), it looks even better.

Regarding the film, it is highly innovative on a number of levels. First, it was made largely outdoors in the real location of Xochimilco with often moving cameras (whereas a recent classic like Casablanca was filmed entirely in a California studio/back lot). The camerawork by Gabriel Figueroa in that environment is superb. Secondly, the script is full of subtle ironies of real rural Mexican life (certainly pulled from Fernandez's actual experiences) never before put to screen. Take for instance Don Damian (Miguel Inclan, one of the greatest character actors in cinema history), who insists on berating the locals as "indios" despite being darker skinned than they. This aggressive malinchista streak persists in Mexico today. While generally considered sympathetic to the plight of Mexico's indigenous majority, Fernandez clearly evokes an ugly streak in their nature thru the way Maria Candelaria (Dolores del Rio) is treated. The daughter of a "puta", Maria is kept virtually imprisoned on her chinampa (island plot) by her neighbors. And while far from having white features, Del Rio clearly looks less than purely native, which would have incited the malinchista-streaked villagers against her even more (quietly jealous of her fair complexion, probably the result of one of her mother's more well-to-do clients). The irony of a dark-skinned jefe inciting mestizo "indios" against a fair-skinned "india" was certainly not lost on Fernandez. Maria's dealings with the Porfiriato legal system and her star-crossed love only add more layers to the irony of that injustice. That is the real Mexico that Fernandez wanted to put to screen.

The item here reviewed is the Televisa Mexican DVD release from their Alter's Collection. It is highly recommended. It is region 1/4 (plays on U.S. players just fine), has excellent optional English & Spanish subtitles, the image has been cleaned up considerably, and the packaging is very nicely done. All the menus and art are in Spanish but they are easy enough to navigate. No real extras to speak of, but this is a must-have DVD for Mexican cinephiles or anyone who considers himself a classic film connoisseur.

I must say I do sympathize with the prior reviewer, as Maria Candelaria (Xochimilco) is a very subtly classic film that is not so immediately striking. Like most Mexican films of the period (and especially those of Emilio Fernandez) it is extremely melodramatic at times (Maria is waiting for her piglet to grow up before she can sell it to buy a dress so that she can get properly married!). Yet the songs we hum upon first listen are rarely the ones that stand the test of time. Personally, I did not find much in my first viewings of either The Grand Illusion or the Third Man, two of the greatest of classic films. Maria Candelaria, not unlike those films, is a nut which is not cracked and swallowed whole on the first try.

Del Rio is largely forgotten in the U.S. today, but she was one of the biggest stars of the late silent era. Even as late as '33, she still got top billing over Ginger Rogers and Fred Astaire. Her return to Mexico was thus looked upon with some reverence. It would not be unlike Salma Hayek or Gael Garcia Bernal returning today.

Regarding the film's place in time, it helps immensely to first watch Fernandez's two prior efforts, Soy Puro Mexicano (1942) and then Flor Silvestre (1943), to get an idea of the level of progression which took place here. Soy Puro Mexicano looks like an even cruder Mexican WWII spin-off of Hitchcock's 30s British style. Flor Silvestre follows much the same storytelling pattern as Maria Candelaria, but it looks much more rudimentary in execution. Maria Candelaria marked the first truly high water note of the Fernandez/Figueroa style, in 1944, which they often equaled but never really surpassed. Thus this film stands all the taller for its early date of production. And comparing it to American films of the same year (almost pure war propaganda), it looks even better.

Regarding the film, it is highly innovative on a number of levels. First, it was made largely outdoors in the real location of Xochimilco with often moving cameras (whereas a recent classic like Casablanca was filmed entirely in a California studio/back lot). The camerawork by Gabriel Figueroa in that environment is superb. Secondly, the script is full of subtle ironies of real rural Mexican life (certainly pulled from Fernandez's actual experiences) never before put to screen. Take for instance Don Damian (Miguel Inclan), who insists on berating the locals as "indios" despite being darker skinned than they. This aggressive malinchista streak persists in Mexico today. While generally considered sympathetic to the plight of Mexico's indigenous majority, Fernandez clearly evokes an ugly streak in their nature thru the way Maria Candelaria (Dolores del Rio) is treated. The daughter of a "puta", Maria is kept virtually imprisoned on her chinampa (island plot) by her neighbors. And while far from having white features, Del Rio clearly looks less than purely native, which would have incited the malinchista-streaked villagers against her even more (quietly jealous of her fair complexion). The irony of a dark-skinned man inciting mestizo "indios" against a fair-skinned "india" was certainly not lost on Fernandez. Maria's dealings with the Porfiriato legal system and her star-crossed love only add more layers to the irony of that injustice. That is the real Mexico that Fernandez wanted to put to screen.

The copy long available on VHS in the U.S. is so bad that it really should not be watched. The image is frequently so blurred as to be unwatchable, the sound is poor, and the white subtitles are at best readable 50% of the time. Televisa has released a DVD in Mexico as part of their Alter's Collection and it is highly recommended. It is region1/4 (plays on U.S. players just fine), has optional yellow English & Spanish subtitles, the image has been cleaned up considerably, and the packaging is very nicely done.

'This movie covers almost all elements of human sentiment: from love to hate, everything in between such as admiration and respect as well as envy and greed --all of which can cause the destruction of another person's life even to the point of committing unjust murder. In this movie, you can appreciate the true and sincere affection that two persons can have for one another with all the innocent in the world--a love so pure, that it moves you. You will also learn and understand why the indigenous people were (and some still are) so reserved and timid of the white man or outsiders (fuereños). In this movie, of course, the native people of Xochimilco were the Mexicas (who spoke Nahuatl). This movie presents the true Xochimilco with its natural beauty and lovely chinampas as it was then and it makes you reflect on what we have done to destroy much of Mexico's true and natural beauty. I highly recommend this movie. It's such a masterpiece.

Not only for studies on film or history as someone has said, this film is a mexican glory. There is a beautiful story in its conception (images, dialogues, space and time, the professional quality of the actors, etc).
The text, book or script was originally an anniversary present for Dolores del Río. Then, some months later, this gift became a jewel of the golden age of mexican movies.
The story shows a little bit of Mexico that does not exist just now.
Recommended for all times, for people of all ages and for futurs film directors and actors. Now the DVD is available in Mexico. Superb !

I never thought I would ever be able to purchase this movie. I had recorded it many many years ago - on a Betamax. So needless to say, when I saw this movie was available, I immediately bought it. It does not have subtitles - which I believe would make it more sellable for Americans. But I speak Spanish and this movie is a true tragedy about love and hate and misunderstanding. And the scenery - filmed in Xochimilco Mexico - is breathtaking.
The seller delivered promptly as advertised.
I would highly recommend this movie and the seller!!! Five Stars!!!

I thank to amazon for these products , a good price , a nice film.
Thanks !

I love this Mexican movie! To put it simple: It's one of the best of all-times! Brilliant in any aspects - the direction by Emilio Fernández, the black and white photo by Gabriel Figueroa, the score by Francisco Dominguez and not least the great acting by Dolores del Rio and Pedro Armendáriz. It's absolutely something for lovers of Classic Movies. I think this is the top peak of the career of Emilio Fernández, even if he made other unforgettable films like "Enamorada", "La Perla" and "Flor Silvestre". I am still wondering why "Maria Candelaria" never comes to discussion when film folks make lists about THE BEST MOVIES OF THE CENTURY.

Timeless classic of the Mexican "epoca dorada"...yawn. This may be of interest to students of Mexican film, and those interested in the development of the official ideology they seem to have of "indigenous Mexican stuff is good", or whatever it is, but it really ain't a very gripping film, and in technical terms, it comes across as quite old and primitive. Don't expect "The Gold Rush" or "Grand Illusion", either, which continue to be enthralling films despite being presented in flickering black and white with static camera work.

The female lead, Dolores del Rio, who plays the virtuous, suffering "india", is as white as they come, which, I suppose, might be regarded as amusing in so far as the wicked shopkeeper, who keeps calling her a dirty no-good indian, is a Mestizo.

Doubtless I missed some subtleties given the absence of subtitles, and it's probably a better film if you can get all of those. But in generall I recommend this only for Mexican patriots or serious students of film.