260:, 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
253:
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.
276:
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.
909:
962:
420:
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
252:
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
236:
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,
275:
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
233:, 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.
237:
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
378:, 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
411:
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
241:, 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
416:
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
999:
946:
1043:
1038:
394:
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.
596:
1023:
1028:
992:
939:
1073:
798:
528:. Peter Conheim of the Cinema Preservation Alliance stated this print was at least three generation removed from the primary source.
1068:
871:
407:
who commented that both horror and mystery films were put out to great difficulty noting the special effects involved, but that
985:
932:
862:
Rhodes, Gary D. (2003). "Fantasmas del cine
Mexicano: the 1930s horror film cycle of Mexico". In Schneider, Steven Jay (ed.).
834:
480:
1063:
1053:
320:
1048:
1033:
592:
516:
described as a "poor quality television broadcast". While most films from the Calderón family studio survived from
374:
1078:
1058:
484:(1961). The character vanished from Mexican cinema for decades only to be resurrected in the new millennium with
498:
468:
447:
190:
513:
445:. The Llorona figure has appeared in several films since the 1933 feature, including dramatic films such as
391:
826:
517:
474:
844:
Lindvall, Valeria
Villegas (2022). "'My Grief Will Not Be Silenced': La Llorana Cry Across the Decades".
344:
1018:
332:
202:
198:
59:
54:
238:
326:
894:
867:
830:
794:
456:
372:, a crying woman from Hispanic folklore who mourns her dead child. According to the newspaper
368:
was one of the 21 sound films created in Mexico in 1933. The film's story is based on that of
969:
916:
434:
261:
17:
194:
41:
908:
452:
338:
302:
242:
214:
293:
206:
80:
245:, and how a previous member of the Acuña had a hand in the curse of the Cortés lineage.
819:
1012:
308:
210:
486:
403:
256:
Back in the main story, Ricardo claims that the whole story is simply the tale of
268:
249:
525:
492:
369:
361:
257:
218:
853:
Masincup, Emily (2022). "La
Llorona and the First Cries of Mexican Horror".
379:
462:
284:
Cast adapted from the liner notes of the Indicator home video release of
888:
961:
509:
508:
was believed to be lost for nearly half a century. It was uploaded to
791:
Guillermo Calles: A Biography of the Actor and Mexican Cinema Pioneer
272:
230:
360:
In the 1930s, a cycle of horror films began. In Mexico, the first
808:
Conheim, Peter (2022). "Preserving the Anomalies of La Llorona".
264:, and gives the origin to the curse, the dagger, and the ring.
915:
This article related to a Mexican film of the 1930s is a
767:
765:
686:
684:
973:
920:
647:
645:
643:
864:
Fear Without Frontiers: Horror Cinema Across the Globe
630:
628:
271:
or La Malinche during Hernán Cortés' conquest of the
821:
The Mexican Masked Wrestler and Monster Filmography
390:Prior to the film's release, Emily Masincup of the
158:
150:
140:
116:
102:
94:
86:
76:
68:
47:
37:
32:
818:
722:(booklet). Indicator. 2022. p. 33. PHILTD243.
707:(booklet). Indicator. 2022. p. 31. PHILTD243.
621:(booklet). Indicator. 2022. p. 2. PHILTD243.
576:(booklet). Indicator. 2022. p. 3. PHILTD243.
401:From contemporary reviews, the Mexican newspaper
350:Carlos Vallejo Espinal as the voice of La Llorona
744:
732:
296:as Dr. Ricardo de Acuña / Captain Diego de Acuña
472:(1974) as well as gothic horror films such as
993:
940:
8:
968:This 1930s horror film-related article is a
248:In this story, Viceroy Rodrigo de Cortés of
548:
546:
174:
1000:
986:
947:
933:
567:
565:
563:
29:
587:
585:
583:
556:(Back Cover). Indicator. 2022. PHILTD243.
437:was selected to direct the short feature
756:
690:
675:
651:
597:National Autonomous University of Mexico
771:
542:
398:was released in Mexico on 25 May 1933.
217:. It was the first Mexican horror film
663:
634:
267:The story follows the woman known as
7:
958:
956:
905:
903:
817:Cotter, Robert Michael Bobb (2005).
299:Virginia Zurí as Ana Maria de Acuña
972:. You can help Knowledge (XXG) by
919:. You can help Knowledge (XXG) by
789:Agrasánchez, Jr., Rogelio (2010).
314:Alberto Martí as Rodrigo de Cortés
25:
1039:Mexican supernatural horror films
960:
907:
857:(booklet). Indicator. PHILTD243.
848:(booklet). Indicator. PHILTD243.
812:(booklet). Indicator. PHILTD243.
512:from what Emily Masincup of the
317:Esperanza del Real as Nana Goya
1:
1024:Mexican black-and-white films
481:The Curse of the Crying Woman
1044:Films directed by Ramón Peón
1029:1930s Spanish-language films
421:picture well worth seeing."
18:The Crying Woman (1933 film)
1095:
1074:Pre-1960 horror film stubs
955:
902:
323:as Don Fernando de Moncada
469:La Venganza de La Llorana
448:La herencia de la Llorona
429:Following the release of
1069:1930s Mexican film stubs
499:La leyenda de la Llorona
191:supernatural horror film
514:Northwestern University
392:Northwestern University
72:Antonio Guzmán Aguilera
364:was released in 1932.
125:May 25, 1933
745:Agrasánchez, Jr. 2010
733:Agrasánchez, Jr. 2010
718:"Critical Response".
703:"Critical Response".
418:Mundo cinematográfico
386:Release and reception
345:Conchita Gentil Arcos
229:In Twentieth Century
189:) is a 1933 Mexican
1064:1930s Mexican films
1054:Mexican ghost films
333:Alfredo del Diestro
311:as Ana Xiconténcatl
203:Carlos Noriega Hope
199:Fernando de Fuentes
98:Guillermo Baqueriza
90:Guillermo Baqueriza
60:Fernando de Fuentes
55:Carlos Noriega Hope
524:existed only as a
335:as Chief of Police
1049:1930s ghost films
1034:1933 horror films
981:
980:
928:
927:
457:The Living Coffin
209:, Virginia Zurí,
166:
165:
27:1933 Mexican film
16:(Redirected from
1086:
1079:1930s film stubs
1059:La Llorona films
1002:
995:
988:
964:
957:
949:
942:
935:
911:
904:
877:
858:
849:
840:
824:
813:
804:
775:
769:
760:
754:
748:
742:
736:
730:
724:
723:
715:
709:
708:
700:
694:
688:
679:
673:
667:
661:
655:
649:
638:
632:
623:
622:
614:
608:
607:
605:
603:
589:
578:
577:
569:
558:
557:
550:
435:Guillermo Calles
262:Age of Discovery
188:
185:
184:The Crying Woman
182:
179:
176:
132:
130:
30:
21:
1094:
1093:
1089:
1088:
1087:
1085:
1084:
1083:
1009:
1008:
1007:
1006:
954:
953:
900:
885:
880:
874:
861:
852:
843:
837:
816:
807:
801:
788:
784:
779:
778:
770:
763:
755:
751:
743:
739:
731:
727:
717:
716:
712:
702:
701:
697:
689:
682:
674:
670:
662:
658:
650:
641:
633:
626:
616:
615:
611:
601:
599:
591:
590:
581:
571:
570:
561:
552:
551:
544:
539:
534:
427:
388:
358:
353:
339:Antonio Frausto
327:María Luisa Zea
303:Carlos Orellana
282:
243:Elizabethan era
227:
215:Carlos Orellana
186:
183:
180:
177:
143:
136:
128:
126:
119:
112:
107:
105:
64:
28:
23:
22:
15:
12:
11:
5:
1092:
1090:
1082:
1081:
1076:
1071:
1066:
1061:
1056:
1051:
1046:
1041:
1036:
1031:
1026:
1021:
1011:
1010:
1005:
1004:
997:
990:
982:
979:
978:
965:
952:
951:
944:
937:
929:
926:
925:
912:
898:
897:
884:
883:External links
881:
879:
878:
872:
859:
850:
841:
835:
814:
805:
800:978-0786456482
799:
785:
783:
780:
777:
776:
761:
749:
747:, p. 103.
737:
735:, p. 102.
725:
710:
695:
680:
668:
656:
639:
624:
609:
595:(in Spanish).
579:
559:
541:
540:
538:
535:
533:
530:
518:film negatives
441:, a parody of
426:
423:
387:
384:
357:
354:
352:
351:
348:
342:
336:
330:
329:as Doña Marina
324:
318:
315:
312:
306:
300:
297:
290:
281:
278:
226:
223:
197:, written by
164:
163:
160:
156:
155:
152:
148:
147:
144:
141:
138:
137:
135:
134:
122:
120:
117:
114:
113:
110:
108:
103:
100:
99:
96:
92:
91:
88:
87:Cinematography
84:
83:
78:
74:
73:
70:
66:
65:
63:
62:
57:
51:
49:
45:
44:
39:
35:
34:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1091:
1080:
1077:
1075:
1072:
1070:
1067:
1065:
1062:
1060:
1057:
1055:
1052:
1050:
1047:
1045:
1042:
1040:
1037:
1035:
1032:
1030:
1027:
1025:
1022:
1020:
1017:
1016:
1014:
1003:
998:
996:
991:
989:
984:
983:
977:
975:
971:
966:
963:
959:
950:
945:
943:
938:
936:
931:
930:
924:
922:
918:
913:
910:
906:
901:
896:
892:
891:
887:
886:
882:
875:
873:1-903254-15-9
869:
866:. FAB Press.
865:
860:
856:
851:
847:
842:
838:
832:
828:
823:
822:
815:
811:
806:
802:
796:
793:. McFarland.
792:
787:
786:
781:
774:, p. 35.
773:
768:
766:
762:
759:, p. 23.
758:
757:Lindvall 2022
753:
750:
746:
741:
738:
734:
729:
726:
721:
714:
711:
706:
699:
696:
693:, p. 11.
692:
691:Masincup 2022
687:
685:
681:
677:
676:Masincup 2022
672:
669:
666:, p. 95.
665:
660:
657:
653:
652:Masincup 2022
648:
646:
644:
640:
637:, p. 94.
636:
631:
629:
625:
620:
613:
610:
598:
594:
593:"Llorona, La"
588:
586:
584:
580:
575:
568:
566:
564:
560:
555:
549:
547:
543:
536:
531:
529:
527:
523:
519:
515:
511:
507:
503:
501:
500:
495:
494:
489:
488:
483:
482:
477:
476:
471:
470:
465:
464:
459:
458:
454:
450:
449:
444:
440:
436:
432:
424:
422:
419:
415:
410:
406:
405:
399:
397:
393:
385:
383:
381:
377:
376:
371:
367:
363:
355:
349:
346:
343:
340:
337:
334:
331:
328:
325:
322:
321:Paco Martínez
319:
316:
313:
310:
309:Adriana Lamar
307:
304:
301:
298:
295:
292:
291:
289:
287:
279:
277:
274:
270:
265:
263:
259:
254:
251:
246:
244:
240:
239:Hernán Cortés
234:
232:
224:
222:
220:
216:
212:
211:Adriana Lamar
208:
204:
200:
196:
192:
172:
171:
161:
157:
153:
149:
145:
139:
133: (Mexico)
124:
123:
121:
115:
109:
101:
97:
93:
89:
85:
82:
79:
75:
71:
67:
61:
58:
56:
53:
52:
50:
48:Screenplay by
46:
43:
40:
36:
31:
19:
974:expanding it
967:
921:expanding it
914:
899:
889:
863:
854:
845:
820:
809:
790:
772:Conheim 2022
752:
740:
728:
719:
713:
704:
698:
678:, p. 9.
671:
659:
654:, p. 6.
618:
612:
600:. Retrieved
573:
553:
521:
505:
504:
497:
496:(2007), and
491:
487:Kilometer 31
485:
479:
473:
467:
461:
460:(1958), the
455:
451:(1947), the
446:
442:
438:
430:
428:
417:
413:
408:
402:
400:
395:
389:
375:El Universal
373:
365:
359:
341:as Francisco
294:Ramón Pereda
285:
283:
266:
255:
247:
235:
228:
207:Ramón Pereda
205:, and stars
193:directed by
169:
168:
167:
142:Running time
118:Release date
81:Ramón Pereda
664:Rhodes 2003
635:Rhodes 2003
526:16 mm print
478:(1960) and
439:La Chillona
269:Doña Marina
250:Mexico City
38:Directed by
1019:1933 films
1013:Categories
890:La Llorona
855:La Llorona
846:La Llorona
836:0786441046
810:La Llorona
720:La Llorona
705:La Llorona
619:La Llorona
574:La Llorona
554:La Llorona
532:References
522:La Llorona
506:La Llorona
475:La Llorona
443:La Llorona
431:La Llorona
409:La Llorona
396:La Llorona
370:La llorona
366:La Llorona
362:sound film
356:Production
286:La Llorona
258:La llorona
219:with sound
195:Ramón Peón
170:La Llorona
146:73 minutes
129:1933-05-25
104:Production
42:Ramón Peón
33:La Llorona
827:McFarland
537:Citations
414:Excélsior
404:Excélsior
380:New Spain
347:as Criada
111:Eco Films
95:Edited by
617:"Cast".
572:"Crew".
502:(2011).
490:(2006),
463:luchador
305:as Mario
159:Language
77:Starring
69:Story by
782:Sources
602:May 10,
510:YouTube
493:J-ok'el
453:Western
178:
162:Spanish
151:Country
127: (
106:company
870:
833:
797:
425:Legacy
273:Aztecs
231:Mexico
154:Mexico
466:film
970:stub
917:stub
895:IMDb
868:ISBN
831:ISBN
795:ISBN
604:2016
280:Cast
225:Plot
213:and
201:and
175:lit.
893:at
1015::
829:.
825:.
764:^
683:^
642:^
627:^
582:^
562:^
545:^
520:,
433:,
382:.
288:.
221:.
1001:e
994:t
987:v
976:.
948:e
941:t
934:v
923:.
876:.
839:.
803:.
606:.
187:'
181:'
173:(
131:)
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.