Cine Dorado: Woman Devil

After too long an absence, David Melville Wingrove returns with his alphabet of golden-age Mexican melodramas, which has reached the Big W…

CINE DORADO

The Golden Age of Mexican Melodrama

W is for Woman Devil (Doña Diabla)

Perhaps I should point out that the letter ‘w’ does not really exist in Spanish, apart from the spelling of foreign names. Still, I can’t miss an excuse to write about Doña Diabla (1950), a film that won María Félix an Ariel for Best Actress – as a woman so spectacularly wicked that lightning flashes and thunder rolls virtually every time she appears on screen. Not that she’s ever off it for long. Doña Diabla is her vehicle from start to finish and she never once lets us forget it. Yet with all those booms and bangs and blinding flashes of light, we may start to feel that we’re watching some Gothic Expressionist monster movie – which, in a very real sense, we are.

The opening credits roll over a montage of María in a series of fabulous gowns. Distracting but only fair, perhaps, as her wardrobe (by the legendary Armando Valdéz Peza) does at least as much acting as she does. The director, Tito Davison, clothes her in virginal, all-white ensembles as an innocent young bride, just waiting to be corrupted. When her no-good husband pimps her to his sleazy boss, she wears a white skirt tainted with dark polka-dots and – just in case we miss the point – a slave bracelet clasped tightly round her neck. Once she’s become a deluxe hooker – as well as a gambler, drug trafficker, blackmailer and fashion tycoon – she favours stylish all-black outfits, apart from the clusters of diamonds at her wrists and a very fetching white streak in her jet-black hair.

The film proper starts with a passionate argument between two shadows. Doña Diabla and her daughter (Crox Alvarado) are fighting furiously over a man. “I’ll see you dead before I see you in his arms,” shouts María in the very best movie manner. Her shadow pulls out a pistol and fires it. Her daughter’s shadow (which is nowhere near as elegant) crumples over and falls as if dead. María runs out into the night, clad in a spectacular full-length mink coat, pearl necklace and mile-high Joan Crawford style fuck-me shoes – the better to be inconspicuous and evade detection. Hotly pursued by police sirens, she flees to a church and confesses the story (in flashbacks) to a priest.

It’s all a clear attempt to emulate Crawford’s Oscar-winning triumph in Mildred Pierce (1945) – also a torrid tale of mothers and daughters, firearms and flashbacks. But dare I say that Doña Diabla makes the barnstorming melodramatics of Mildred Pierce look rather pallid and restrained? This whole movie takes place in a fever of near-operatic excess. When María, a young bride, first comes to the big wicked city, her husband takes her to a nightclub where a man in black silk pyjamas and a girl in a spangled bikini do an act that’s midway between a dance and a live sex show. A platoon of lecherous old men line up to dance with her. The husband’s boss remarks, ominously: “A woman who is too beautiful cannot belong to just one man.”

A few scenes later, she’s at a party in Acapulco, staring out at a moonlit sea – and trying to fend off the advances of said boss. A gypsy singer serenades the guests a flamenco number, and then starts reading their futures in their palms. Once she comes to María, the gypsy can read no more. “I see the face of the Devil himself!” María wastes no time in proving her right. Horrified that her husband expects her to sleep her way to the top on his behalf, she agrees to become the boss’s mistress – provided he will ruin her husband for good. This he does, obligingly, with just one telephone call. She takes a year out to give birth to her daughter, and then comes back and makes good on her bargain.

Years pass and her daughter grows into a simpering, cosseted ingénue – raised in a convent to spare her all knowledge of her mother’s life. When María drops in for her annual visit, the girls are in the garden singing Schubert’s ‘Ave Maria’ in chorus. (Is that what passed for an education in the old days?) “Oh, mother,” enthuses the adoring child. “My great ambition is to be exactly like you!” María’s face clouds over and looks, momentarily, perturbed. Back in the city that night, we get a telling close-up of her hands at the roulette table, sparkling with diamonds and raking in a king’s ransom in chips. Her husband’s old boss (and her one-time sugar daddy) turns up and looks forlorn. He has ruined himself for Doña Diabla, as countless men have done since. She buys him a cigarette and splashes him with her car as she drives off.

By the time she meets a man who’s a match for her, the film is half-way over. Victor Junco plays a sexy lounge lizard who runs dope and deals in smuggled objets d’art. It is, of course, the most passionate love-hate at first sight. Doña Diabla opens a ritzy high fashion house as a front for his illicit activities. Judging from their lavish catwalk show, we may add crimes against haute couture to out heroine’s ever-growing list of misdeeds. She is, however, desperate to turn respectable…in time for that fateful day when her daughter comes out of the convent. (Wouldn’t it be easier to just persuade the girl to be a nun?) Alas, the daughter runs away from the convent and flees to Mexico City before mother has quite turned over her new leaf.

María announces to her lover that they must part. She is taking her daughter away, on an extended trip to Europe. Junco takes this rather badly – and shows up at the villa, the night before they leave, with a full mariachi band and a rogue’s gallery of people involved in Doña Diabla’s past scandals. One of them obligingly commits suicide in the guest bedroom. By the time María has been released from police questioning (have they never noticed her shenanigans before?) Junco has seduced the daughter and the two look set to run away together…I won’t give away the ending, but it involves an ‘action replay’ of the opening scene, with actors this time and not shadows. Let’s just say there is a twist, if not one that is wholly unexpected.

Doña Diabla opens and closes with an impassioned quotation by Sister Juana de la Cruz, the 17^th century Mexican author and mystic. “You foolish men, who accuse women without grounds, do you not see that you are the cause of all you condemn?” That is, fortunately, the closest this movie ever comes to art. Doña Diabla triumphs (like a book by Sidney Sheldon) not by scaling any heights of artistic ambition, but through the sheer consummate perfection of its melodramatic excess. It glorifies María Félix in a way that technically better movies may not, because its strident emotionalism is perfectly calibrated to her uniquely florid style of performance. Cynics may claim that trash of this sort was the best that María Félix could do – but nobody else could ever do it with such flair.

David Melville

CINE DORADO: O is for La Otra

David Wingrove returns with another installment in his alphabet of Mexican melodrama. One correction — the first theremin in movies featured in Miklos Rosza’s score for THE LOST WEEKEND, in 1945.

 CINE DORADO

The Golden Age of Mexican Melodrama

O is for La otra (The Other One)

A life that could have been but was not.

A fate that chose the most twisted and tortuous paths.

– Dolores del Río in La otra (1946)

Watching the credits to La otra, you could be forgiven for expecting a sci-fi movie. The camera drifts in outer space, planets aglow in varying shapes and sizes, while a theremin wails frantically on the soundtrack. (The use of this instrument in La otra may well be a movie first.) We might be at a low-budget, black-and-white preview of Tim Burton’s Mars Attacks! Yet this film, as we shall see, takes place on a planet infinitely stranger and more glamorous than Mars…

In the opening scene, a crowd gathers to mourn a dead millionaire. His widow – her face hidden by a black veil – steps daintily out of a hearse. A mousy woman with glasses pushes through the crowd and fights her way to the widow’s side. As the ladies stand shoulder to (padded) shoulder by the open grave, the inconsolable wife turns to the intruder and hisses: “Couldn’t you find something better to wear?”

The first big hit for its director Roberto Gavaldón, and an acting tour de force for its star Dolores del Río, La otra (1946) is the Mexican melodrama that defines the entire genre. It is also one of the grandest and most flamboyant ‘women’s pictures’ of the 40s. The lovely Dolores plays not one but both those ladies at the graveside – who are, in fact, twin sisters. The wealthy Magdalena is vain, frivolous, grasping, cruel, selfish and generally vile. Her impoverished sibling, María, is pure, virtuous and hard working. Yet her life is poisoned by jealousy and hatred of the sister who has everything she does not.

Such casting was par for the course in the 40s, when no movie diva of any stature was content to play just one role in a film. In 1944, audiences in Mexico had thrilled to María Félix as blonde and dark femmes fatales in Amok and – from that other film industry north of the border – Maria Montez as good and evil twins in Cobra Woman. In the same year as La otra, Hollywood made ‘twin’ movies with Bette Davis (A Stolen Life) and Olivia de Havilland (The Dark Mirror). Davis – in a final bizarre twist – would remake the plot of La otra in her 1964 vehicle Dead Ringer.

Yet while the twin sisters in Hollywood films embody polar opposites of Good and Evil, the siblings in La otra are both corrupt and vicious to varying degrees. After the funeral, the two repair to the wealthy sister’s mansion, a fantasia of white caryatids and chessboard marble floors. Taking pity for once on her sister, Magdalena flings open her closets (a scene that foreshadows Written on the Wind) and throws a few unwanted designer gowns in her direction. “No, not that one!” she says, having second thoughts. “I’ve promised that one to the maid.”

While callous Magdalena is fretting over her mourning outfits, poor frumpy María sits at the dressing table and wraps herself, for comfort, in one of her sister’s priceless fur stoles. The butler comes in to announce tea and sees her reflection in the giant mirror. He assumes, naturally, that she is the lady of the house. A strange light flickers, momentarily, in María’s eyes. We know, at that moment, that a dangerous (and probably lethal) plot is about to be hatched.

Leaving the mansion, María overhears the staff gossiping about the 5 million pesos her sister stands to inherit. Out in the street, it’s Christmas Eve and the whole of Mexico City is lottery-mad. The jackpot, of course, is 5 million pesos! This sum passes her on the sides of buses, flashes at her from neon signs. It even hangs over the bar where she goes with her detective boyfriend (played by Argentine tango singer Agustín Irusta). When she rails against her poverty, he says in horror: “I don’t recognise you when you talk like that. It’s as if you’d become another woman!”

In the film’s bravura set piece, María telephones Magdalena and announces she is going to commit suicide. Mildly annoyed by such histrionics, Magdalena summons her chauffeur and drives to the squalid garret where her sister lives. She climbs the stair in the courtyard, as firecrackers explode around her and children sing hymns in a candlelit procession. At the top of the stairs, María is waiting with a gun. She points it at Magdalena – but we do not see or hear the shot. Instead, a child smashes the head of a piñata hanging in the courtyard; it bursts open, with a deafening bang.

Upstairs, Magdalena is slumped in a rocking chair. Dead. In a scene too graphic and visceral for a Hollywood film, María strips naked in silhouette. She then begins, slowly, to peel off the dead woman’s silk stockings. Finally, dressed in her sister’s clothes, she walks down the stairs to the waiting limousine. (She almost forgets to take off her glasses – but she leaves them on the table, with a suicide note, in the nick of time.) She gets into the car and drives off towards her new life.

Not that she ever has much fun. Soon, she has to witness the late husband’s will. Unable to forge Magdalena’s signature, she burns her right hand with a hot poker so she can sign with her left. We watch the poker as it heats up slowly on an open fire; we get a close-up of del Río’s exquisite face as it contorts in agony. A few scenes later, a sleazy moustachioed gigolo (Victor Junco) shows up and demands her gratitude – sexual and financial – for helping her to poison her husband. Poor María has no choice but to give in. As she was clearly too respectable to sleep with her boyfriend, we wonder if this new man will notice she’s a virgin…

But even Mexican movies, at their most florid, have to draw a veil over some things. A triumph for Gavaldón’s operatic mise en scène – all multiplying mirrors and ominous shadows – La otra is the equal of any classic Hollywood melodrama of the 40s. The performance(s) of Dolores del Río can rank with the best of Bette Davis, Joan Crawford or Barbara Stanwyck. Mind you, I’m still not sure why they needed those planets. La otra is in a dimension all of its own.

David Melville