The owner and the general manager of a ranch (Rancho Grande), two good friends, fall in love with the same girl at the same time. The owner tries to ‘buy’ the girl without knowing she is in love with the manager.
The first Mexican cineaste of note, Fernando de Fuentes is still considered the director whose interpretations of the Mexican revolution and whose contributions to typical Mexican genres have not been surpassed. Early sound film production in Mexico was dominated by foreigners: Russians who accompanied Eisenstein in the making of Que Viva México, Spaniards who passed through Hollywood, Cubans, and U.S. citizens who somehow ended up there. De Fuentes was one of the first Mexicans to be given a chance to direct sound films in his country. After several false starts with “grey and theatrical melodramas,” de Fuentes indicated first in Prisionero trece that his métier was the “revolutionary tragedy.” During 1910–17, Mexico passed through a cataclysmic social revolution the cultural expression of which resounded principally in the extraordinary murals of Diego Rivera, David Siquieros, and José Orozco. Fiction films did not examine this watershed event seriously until 1933 when de Fuentes… read more