La otra mujer explained

La otra mujer
Director:	Julián Soler
Producer:	Gregorio Walerstein
Starring:	Mauricio Garcés Saby Kamalich Félix González Paula Cusi María Duval José Luis Moreno Delia Peña Orta
Music:	Sergio Guerrero (song "Una gota de miel")
Cinematography:	Xavier Cruz
Studio:	Cima Films
Runtime:	95 minutes
Country:	Mexico
Language:	Spanish

La otra mujer (English: "The Other Woman") is a 1972 Mexican comedy drama film directed by Julián Soler and starring Mauricio Garcés, Saby Kamalich and María Duval.^[1] The film is a remake of the Mexican film Mi esposa y la otra (1952), which in turn is a remake of the Argentine film The Kids Grow Up (1942).

Plot

Cristina (Saby Kamalich) and Ricardo (Félix González) have three children: Pablo (José Luis Moreno), Martha (Paula Cusi) and Claudia (Delia Peña Orta), but they are not married, because Ricardo is married to another woman, Alicia (María Duval). When he finds himself in a hurry when it seems that Alicia is going to find out about her secret life, Ricardo asks Alicia's cousin, Antonio (Mauricio Garcés), to help him by pretending to be Cristina's husband.

Cast

Mauricio Garcés as Antonio
Saby Kamalich as Cristina Martínez
Félix González as Ricardo
Paula Cusi as Martha
María Duval as Alicia
José Luis Moreno as Pablo
Delia Peña Orta as Claudia
Gilberto Román as Martha's Boyfriend
Jorge Patiño as Card Player
Jorge Fegan as Card Player
Inés Murillo as Sebastiana, maid
Víctor Alcocer
Luis Miranda
Dolores Camarillo
Sheila Donne as Mamacita Americana
Ana Lilia Tovar as Antonio's Girlfriend
Luciano Hernández de la Vega
Ricardo Adalid
Enrique Pontón

Reception

Comparing the film with its previous 1952 and 1942 film versions, Emilio García Riera said that the films of 1942 and 1952 were better.^[2] Due to the scene that shows Garcés's character accompanied by an English-speaking blonde woman during a card game, in Stereotyped Images of United States Citizens in Mexican Cinema, 1930-1990, David E. Wilt cited the film as one of the films in Mexican cinema that extolled the figure of the blonde woman as an object of desire in Mexico.^[3]

Notes and References

Book: Emilio García Riera
. Los hermanos Soler. Emilio. García Riera. Emilio García Riera. Universidad de Guadalajara, Centro de Investigación y Enseñanza Cinematográficas. 1990. 268–270. 968-895-090-4. es.
Book: Emilio García Riera
. Historia documental del cine mexicano: 1970-1971. Emilio. García Riera. Emilio García Riera. Universidad de Guadalajara. 1992. 968-895-343-1. 188. Las versiones de 1942 y 1951 resultaron no sólo mejores […] [The 1942 and 1951 versions were not only better […]]. es.
Book: Stereotyped Images of United States Citizens in Mexican Cinema, 1930-1990. David E.. Wilt. University of Maryland at College Park. 1992. 260. These types of roles reinforce the image of the Blonde as a character whose primary function is sexual, even before she takes any assertive action. But in Mexican cinema the male rarely has to make the first move, since the Blonde actively seeks out sexual partners, […] therefore is subjected to frequent propositions, comments and looks by the male characters in the film. She is often treated as little more than a chattel, a plaything, a piece of common property. In La Otra Mujer (The Other Woman, 1971), for instance, gambler Antonio (Mauricio Garcés) is playing cards with several other men in his hotel suite. Antonio is accompanied by an English-speaking Blonde. […].