Manolo (Manolo Escobar) is a truck driver accused by Engracia (Gracita Morales), a young woman from a neighboring town, of raping her and impregnating her. He is defended by a young lawyer, Marta (Concha Velasco). At first, Manolo distrusts Marta's legal abilities because she is a woman, but he soon discovers her professional qualities, which convince the accused. Marta, a member of a prestigious law firm run by Don Gonzalo Carranza (Tomás Blanco), takes on the case and begins investigating other possible suspects until the day of the trial arrives. Marta begins investigating and is soon convinced of her client's innocence. The problem is that all the circumstantial evidence points to Manolo, so they have no choice but to find the real culprit. Otherwise, Manolo has only two options: jail or marry Engracia. But the accused vehemently opposes the marriage because he declares his categorical innocence. The criminal court is presided over by a strict judge (Gabriel Llopart), and a bizarre and hilarious trial unfolds, with all sorts of extravaganzas, surprises, and unexpected twists in order to determine Manolo's guilt.
A rather funny comedy that deals with a peculiar plot in which a singing truck driver is accused of rape. This is Manolo Escobar's third film with Concha Velasco, after "Pero... ¿En qué país nos vivir?" and "Relaciones casi pública". The film moves along in fits and starts, with almost everything to be desired, with funny moments and others quite embarrassing and extremely ridiculous. It is a judicial comedy with a main question: is our protagonist guilty or innocent of the crime committed, or did others commit it? Or is it the victim herself who, in order to get married, is capable of accusing Manolo in order to marry him? In fact, there are several suspects: a Latin lover, Manolo Otero, who courts women; a naive mechanic, Antonio Ozores, and others.
The feature film was uneven, but professionally directed by José Luis Sáenz de Heredia. He made well-known drama films such as "The Pardon", "The Eyes Leave Traces", "The Waters Run Black", "Ten Rifles Wait", "The Scandal", "Don Juan", "Mariona Rebull". Later, he turned to the comedy genre, including titles such as "Faustina", "Stories from the Radio", "Women's Rights", "Everything is Possible in Granada", "The Nativity Scene", "Almost Public Relations", among others.
