The seven deadly sins are played out among four old friends and their families in a small town rife with gossip and the willingness -- perhaps eagerness -- to believe the worst of others.
The rift between the Cordobas and the Huertas begins when Rosario Cordoba unjustly accuses Julian Huerta of killing her beloved son César when both were children, resulting in Julian's later inability to find employment with anyone except Gambino Roura. Greed and lust drive Gambino, who married out of greed and later committed adultery with Justina, who married Rudolfo Huerta to move up socially. Ironically, she ends up envying others who have more money and a higher social position. Paulino's pride (and possible fear) forbids him from seeking psychiatric help for his wife Rosario, whose insane wrath is aimed at their innocent daughter Lucrezia. She abuses her emotionally and systematically before attempting to banish her permanently from the house at the age of ten. Envy will drive Lucrezia's cousin Renata to excesses similar to those of Rosario, while sloth is the sin of Gambino's son Carmello, who looks to make a fast peso without working for it and Justina's son Josué, who wants what Julian has but doesn't work for it. A suitable punishment for a father who murdered his wife as soon as he found out she was about to change her will and a woman who cheats on a good man with an evil one. There is a Cain and Abel dynamic between Julian and Josué, both of whom want Lucrezia.
Lucrezia and Julian will have a long, hard time fighting the sins of their parents and the machinations of their peers before they can be together.
Thus far Daniela Castro delivers the goods as the coldly insane Rosario, a more manic version of Beth from ORDINARY PEOPLE. After failing to get rid of Lucrezia, she attempts to control her every move, every thought. Her hard beauty must have once been a little softer to have attracted her husband in the first place and she has over the years gradually coerced him into completely catering to her whims which are not by any means capricious. Roberto Blandón's Paulino is the classic workaholic husband who is not home enough to see the true levels of evil within it and he appears unwilling to face them. Sabine Moussier as the adulterous Justina exemplifies the social-climbing wannabe Rosario accuses her of being, making all the etiquette faux pas (like wearing a sexy dress to a funeral) and failing to learn other appropriate public behaviors. This detracts from her usual femme fatal sex appeal, perhaps intentionally. Sergio Goyri is appropriately creepy as Gambino, who has gotten away with murder so far but will ultimately pay in the end. Francisco Gattorno is less appealing than usual as Rudolfo, the cuckolded husband who may not know the truth until almost the end of the story. None of the mature characters are particularly effective parents except for the Cordobas' housekeeper, Delphina. Magda Karina shines in this role, the only voice of reason Lucrezia can hear in that household. The other voice of reason is that of Padre Mattias, ably portrayed by Salvador Sánchez. The younger actors hold their own in this drama, with Eugenio Siller particularly appealing as the much-maligned Julian.
The Biblical themes are emphasized by two of the families being in the apple business.
Lluego, cual es tu pecado?
The rift between the Cordobas and the Huertas begins when Rosario Cordoba unjustly accuses Julian Huerta of killing her beloved son César when both were children, resulting in Julian's later inability to find employment with anyone except Gambino Roura. Greed and lust drive Gambino, who married out of greed and later committed adultery with Justina, who married Rudolfo Huerta to move up socially. Ironically, she ends up envying others who have more money and a higher social position. Paulino's pride (and possible fear) forbids him from seeking psychiatric help for his wife Rosario, whose insane wrath is aimed at their innocent daughter Lucrezia. She abuses her emotionally and systematically before attempting to banish her permanently from the house at the age of ten. Envy will drive Lucrezia's cousin Renata to excesses similar to those of Rosario, while sloth is the sin of Gambino's son Carmello, who looks to make a fast peso without working for it and Justina's son Josué, who wants what Julian has but doesn't work for it. A suitable punishment for a father who murdered his wife as soon as he found out she was about to change her will and a woman who cheats on a good man with an evil one. There is a Cain and Abel dynamic between Julian and Josué, both of whom want Lucrezia.
Lucrezia and Julian will have a long, hard time fighting the sins of their parents and the machinations of their peers before they can be together.
Thus far Daniela Castro delivers the goods as the coldly insane Rosario, a more manic version of Beth from ORDINARY PEOPLE. After failing to get rid of Lucrezia, she attempts to control her every move, every thought. Her hard beauty must have once been a little softer to have attracted her husband in the first place and she has over the years gradually coerced him into completely catering to her whims which are not by any means capricious. Roberto Blandón's Paulino is the classic workaholic husband who is not home enough to see the true levels of evil within it and he appears unwilling to face them. Sabine Moussier as the adulterous Justina exemplifies the social-climbing wannabe Rosario accuses her of being, making all the etiquette faux pas (like wearing a sexy dress to a funeral) and failing to learn other appropriate public behaviors. This detracts from her usual femme fatal sex appeal, perhaps intentionally. Sergio Goyri is appropriately creepy as Gambino, who has gotten away with murder so far but will ultimately pay in the end. Francisco Gattorno is less appealing than usual as Rudolfo, the cuckolded husband who may not know the truth until almost the end of the story. None of the mature characters are particularly effective parents except for the Cordobas' housekeeper, Delphina. Magda Karina shines in this role, the only voice of reason Lucrezia can hear in that household. The other voice of reason is that of Padre Mattias, ably portrayed by Salvador Sánchez. The younger actors hold their own in this drama, with Eugenio Siller particularly appealing as the much-maligned Julian.
The Biblical themes are emphasized by two of the families being in the apple business.
Lluego, cual es tu pecado?
