249:, and shouldn't be a cause for concern. Fernando assures him that is better to be safe than sorry, and to keep Juanito safe, all of this being said while the hooded figure continues to watch. Ricardo returns to his Ana Maria and they watch their son sleep while Fernando begins to read a book in the library. Mario and the maid Nana Goya both come to Fernando to be relived for the night, which he begrudgingly allows. During this down time, the hooded figure uses the hidden passage to the library to steal a second book that Fernando intended to show Ricardo. After the theft, the figure sneaks uses the same knife Ana had in the flashback story to kill Fernando, alerting Ricardo and Ana Maria with a scream. While Ricardo investigates, he sends Mario with Ana Maria and Juanito somewhere safe in the house, and finds Fernando's body and has another member of the staff, Francisco alert the police. He then runs back to his wife when he hears her screaming, seeing the hooded figure has kidnapped Juanito, disappearing into one of the passages. Ricardo gives chase, and he's attacked by the figure before they disappear into another passage. The authorities arrive, and Ricardo leads them to the passage where the figure disappeared, and then reveals the second book hidden under small trapdoor and takes place in the
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role) comes to his assistance while claiming to be on patrol of the city. As compensation for saving his life, Cortés invites Diego into Ana's home for a drink of wine. Inside, Diego and Ana share a moment before she leaves to gather wine for the three. Diego then reveals he was in the area not because of his patrol, but to see Ana and confess his full love, greatly angering Cortés. The two prepare to duel, but are stopped when Ana returns with the wine. Later, during the arranged marriage between Cortés and his wife, Diego arrives to the wedding with Ana and her son, still unnamed, much to the humiliation of Cortés and his family. Following the wedding disaster, Cortés returns to Ana's house, where he discovers a note where Diego challenges him to a duel, and soon after, Ana appears on the houses balcony. Cortés claims he wants his son, and Ana responds he'll never have the boy. Resolving that no one but her can have her son, Ana kills the boy, using the same ring as the hooded figure and sacrificial knife to kill the unnamed child. Afterwards, she commits suicide, and her wraith rises form her corpse. During this, Diego arrives and duels with Cortés, before the wailing of Ana's spirit causes the duel to end, as well as the story.
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Malinche mad with grief. It reached the point where she cursed her former lover and all his children to suffer for all eternity, and later committed suicide with the dagger used in previous scenes in the film, and wearing the strange ring both Ana and the hooded figure wore. After her suicide, her ghost rises into the air, wailing. With this revealed, Ricardo and the police open the passage the figure escaped through and stop them from killing
Juanito on a sacrificial altar with the dagger, shooting them dead. They pull the hood back to reveal a person, showing all the supernatural events were heavily orchestrated, though Ricardo now seems more superstitious, believing the person to have been possessed by La Llorona's spirit. Ricardo pulls the hood back to reveal the maid, Nana Goya as the hooded figure.
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found that the film trivialized
Mexican history to create a Hollywood-like story. Harry T. Smith who reviewed the film in 1935 when it showed at Harlem's Teatro Compoamor, who found the film had "Excellent acting by all the principals" and that "some fine scenes of the Mexico of long ago all make the
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is debating whether to or not to name his four-year old illegitimate son with a noblewoman and his mistress named Ana Xiconténcatl, who asks why he couldn't marry her instead of his arranged bride. As he leaves her house, Cortés is accosted by robbers, and Diego de Acuña (played by Pereda in a duel
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Later, at his son
Juanito's fourth birthday party, Ricardo and his wife Ana Maria relish in their happy lifestyle, while the butler Mario takes the fourteenth seat at the kids table to beat out a superstition, much to Juanito's grandfather Don Fernando's embarrassment and scolding. After the party,
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and their empire. It is revealed that as his mistress, La
Malinche had a son with Cortés and when the Spanish suffered a heavy defeat, they blame faulty information by her and sought revenge on La Malinche and her son. In a bid to please either side, Cortés forcefully took her son, driving La
222:, a man dies of a heart attack, while at the same time, hearing the wailing of a woman. During the autopsy, many students of Dr. Ricardo de Acuña speculate that there could be some supernatural involvement with the man's death, while Ricardo simply brushes it off as natural causes.
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Fernando takes
Ricardo aside into his study to tell him news that he believes the new father should know. Fernando talks about how his first born son was killed at four years old, stabbed to death. He then tells how their family ancestries are connected that of
367:, the filmmakers found difficulty in finding a voice for the ghost that would be convincing and not encourage laughter from the audience. Journalists of the newspaper noted that great expense was made to recreate the sets in the film to represent
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was more impressive as it had to do that and recreate the period film sets. The film was declared the most serious work put out by Mexico's film industry yet. The liner notes of
Indicator's blu-ray release stated that the
230:, and are therefore cursed. While he discuss this, a hooded figure wearing a strange ring watches them from a hidden passage. Fernando brandishes a large book to provide proof for his claims, which tells a story from the
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review was a typical response to the film as
Mexican press found the film technological achievements was met with a sense of national pride. Among the few dissenting critics, Chano Urueta of
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stated that the film was highly anticipated due to the number of laudatory articles found and large banner ads found in Mexico prior to its release.
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who commented that both horror and mystery films were put out to great difficulty noting the special effects involved, but that
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Rhodes, Gary D. (2003). "Fantasmas del cine
Mexicano: the 1930s horror film cycle of Mexico". In Schneider, Steven Jay (ed.).
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described as a "poor quality television broadcast". While most films from the Calderón family studio survived from
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473:(1961). The character vanished from Mexican cinema for decades only to be resurrected in the new millennium with
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Lindvall, Valeria
Villegas (2022). "'My Grief Will Not Be Silenced': La Llorana Cry Across the Decades".
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was one of the 21 sound films created in Mexico in 1933. The film's story is based on that of
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Back in the main story, Ricardo claims that the whole story is simply the tale of
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Masincup, Emily (2022). "La
Llorona and the First Cries of Mexican Horror".
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Cast adapted from the liner notes of the Indicator home video release of
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was believed to be lost for nearly half a century. It was uploaded to
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Guillermo Calles: A Biography of the Actor and Mexican Cinema Pioneer
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In the 1930s, a cycle of horror films began. In Mexico, the first
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Conheim, Peter (2022). "Preserving the Anomalies of La Llorona".
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This article related to a Mexican film of the 1930s is a
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Fear Without Frontiers: Horror Cinema Across the Globe
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or La Malinche during Hernán Cortés' conquest of the
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The Mexican Masked Wrestler and Monster Filmography
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339:Carlos Vallejo Espinal as the voice of La Llorona
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461:(1974) as well as gothic horror films such as
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303:Alberto Martí as Rodrigo de Cortés
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653:Rhodes 2003
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515:16 mm print
467:(1960) and
428:La Chillona
258:Doña Marina
239:Mexico City
27:Directed by
1008:1933 films
1002:Categories
879:La Llorona
844:La Llorona
835:La Llorona
825:0786441046
799:La Llorona
709:La Llorona
694:La Llorona
608:La Llorona
563:La Llorona
543:La Llorona
521:References
511:La Llorona
495:La Llorona
464:La Llorona
432:La Llorona
420:La Llorona
398:La Llorona
385:La Llorona
359:La llorona
355:La Llorona
351:sound film
345:Production
275:La Llorona
247:La llorona
208:with sound
184:Ramón Peón
159:La Llorona
135:73 minutes
118:1933-05-25
93:Production
31:Ramón Peón
22:La Llorona
816:McFarland
526:Citations
403:Excélsior
393:Excélsior
369:New Spain
336:as Criada
100:Eco Films
84:Edited by
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561:"Crew".
491:(2011).
479:(2006),
452:luchador
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148:Language
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