“Film is like a battleground. There’s love, hate, action, violence, death. In one word: emotion.” So said Sam Fuller of Jean-Luc Godard’s Pierrot le Fou, but he could just as easily have been speaking about Emilio Fernández’s Victims of Sin given how drastically and often ferociously the 1951 film shifts in emotional registers, from the erotic to the violent, from the tragic to the transcendent.
As one of the quintessential cabaretera films from the golden age of Mexican cinema, Victims of Sin moves at the quickening pace of the Afro-Cuban rumba dances we witness throughout. These dances, and the music supporting them, underscore the sensuality that seems to run beneath almost everything in the seedy little corner of Mexico City where the film takes place, as well as set up the female characters as objects of male lust and jealousy.
Written by Fernández and Mauricio Magdaleno, the film...
As one of the quintessential cabaretera films from the golden age of Mexican cinema, Victims of Sin moves at the quickening pace of the Afro-Cuban rumba dances we witness throughout. These dances, and the music supporting them, underscore the sensuality that seems to run beneath almost everything in the seedy little corner of Mexico City where the film takes place, as well as set up the female characters as objects of male lust and jealousy.
Written by Fernández and Mauricio Magdaleno, the film...
- 7/5/2024
- by Derek Smith
- Slant Magazine
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