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.
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.