Manolo Fábregas Movies

When two filmmakers, from a hidden vantage point with the cameras rolling, witness what appears to be a murder, they flee the scene. After considering their position for some time, they decide to blackmail the well-known businessman who committed the crime. However, a series of mishaps results in their becoming victims. Also, even though the murdered woman's family receives the incriminating video, they are unable to do anything about it because of the great social and political influence of the killer. ~ Clarke Fountain, Rovi

The black comedy Esperame en Siberia Vida Mia concerns a wealthy man who is manipulated into taking a bride, the daughter of a nefarious doctor. The doctor attempts to get his hands on the fortune by convincing the wealthy man he should end his own life rather than face a terminal disease. Soon the doctor must hire help to finish off the man who they are having a very difficult time finishing off. ~ Perry Seibert, Rovi

"Everybody needs candy of one kind or another," George Sanders says in The Candy Man. Sanders, playing a character named Sidney Carter, says this soon after giving some peppermint sticks to a pair of small children. But are they just peppermint sticks? As a down-and-out drug dealer, Carter is capable of just about anything. Desperate to make some real money, he comes up with an idea that, if it works, will let him retire: kidnap the young daughter of a visiting movie star (played by Leslie Parrish). To do this, Carter hires a pot addict, promising him plenty of drugs if he will undertake the abduction. Unfortunately, before his plan can be realized, someone else kidnaps the child. Carter comes up with an alternate plan, trying to build upon this unexpected occurrence; meanwhile, Parrish's agent begins behaving in a suspicious manner, raising the possibility that perhaps he has had a hand in the kidnapping. Eventually, the child finds herself tottering dangerously from the top of a tall building and risking death before being returned to her mother's anxious arms. ~ Craig Butler, Rovi

A man and his godson who live in a home with three women find their tentative relationships brought into question as the eldest of the women considers whether to follow her heart or risk crumbling the foundation of her family in this family drama starring Amelia Bence and Manolo Fabregas. Luis and his godson Pablo both live in a home with three Elenas: the mother, the daughter, and Luis' mother-in-law. Though Pablo is currently in the process of nurturing a blossoming romance with daughter Elena, mother Elena nevertheless finds herself pining for the handsome young suitor. Now, with the future of her family hinging on her ability to keep her fiery passion in check, mother Elena must make a choice between risking it all to tell Pablo how she truly feels, or sacrificing her happiness to maintain the stability of her happy home. ~ Jason Buchanan, Rovi

One of the nicest aspects of Mexican films from the 1930's through the 1960's is how much they borrow from Hollywood cinema of the same era. Las Interesadas is a perfect example, a musical-comedy of the type that, with color shooting and a slightly less comedic script, could have been made with June Allyson, Betty Hutton, Doris Day, or Lucille Ball during the late 1940's. Three women (Amalia Aguilar, Lilia Prado, Lilia Del Valle), all aspiring performers who are tired of being abused in their work and private lives, join forces to try and find success together. They are almost distracted from their goal when they accidentally injure a stranger (Manolo-Fabregas) with their car and have to care for him, which means that they have to go out and find regular jobs. In a manner reminiscent of any number of plots on I Love Lucy, as well as numerous movies, it turns out that none of them is suited to the job she's taken and they are close to being evicted; taking in an apparently homeless man (Roberto Font) doesn't help their situation. At the last moment, however, they are rescued when it turns out that the man they thought was homeless was a disillusioned millionaire, who sets the three women up in their own lavish stage review, where they succeed after overcoming the jealousies that have built up during their time together. Cuban-born Amalia Aguilar is the sparkplug of the trio, an enchanting mambo dancer and actress who is something of a cross between Charo in her looks and Lucille Ball or Joan Davis (or Kirstie Alley in modern terms) in her approach to comedy; Lilia Prado and Lilia Del Valle are also engaging in their roles, as well. Some viewers will find some of the audio gags on the soundtrack a bit silly, and the plot simplistic and improbable, but Las Interesadas is also a fascinating homage to Hollywood, ending with some surprisingly elaborate mambo and modern dance numbers featuring each of the three performers. The fact that these numbers, and the score for the movie, were all written by renowned mambo and dance-band leader Perez Prado gives Las Interesadas added interest even for non-Spanish speaking viewers with memories of the Mambo King's musical triumphs in the United States during the 1940's and 1950's. The lushness of the dance numbers may surprise those who only associate the bandleader with numbers like "Cherry Pink And Apple Blossom White." The quality of the music, the comedic talents of the actresses, and the script's attempts at a knowing, self-conscious brand of humor over its plot make one wonder how much a director like, say, Frank Tashlin, with a large budget to work with, might have made out of these same elements. ~ Bruce Eder, Rovi

Originally titled Como Todos Las Madres stars Mexican film luminary Fernando Soler, who also directed. Based on a popular stage play, the film is a gabby paean to Mother Love, as exemplified by the relationship between Rosario (Sara Del Rio), her two sons and her daughters. Worried that she'll endanger her children's happiness, Rosario refuses the proposal of handsome Coronel Rivera (Soler). It soon develops that the kids could have used a father-figure in their lives, especially when one of the sons goes dangerously astray. Comedy relief (and in this case it is relief) is provided by Joaquin Pardave, a fixture of movies of this nature. ~ Hal Erickson, Rovi