Domingo Soler Movies

A favorite era of Mexican cinema returns to the screen in this well-wrought tale of a family and how it copes with the dynamic changes happening all around. The time is the end of the Mexican revolution and Porfirio Diaz is about to lose power. On the ranch known as La Gaviota, the feudal patriarch (Fernando Soler) of a small family and a large group of peasant workers is caught in the contemporary drama. He represents the old, entrenched, often arrogant aristocracy, and his daughter (Maricruz Olivier) more or less carries on in the same tradition. Opposite this holdover from past times is a revolutionary (Antonio Aguilar) who organizes the family's peasant workers, setting up a dichotomy that reflects the events in the country as a whole. ~ Eleanor Mannikka, All Movie Guide

Alfredo B. Crevenna directs this amusing Mexican comedy-drama, sprinkled with a few risqué situations but not as spicy as the book on which it is based. Popular actor Francisco Rabal plays the wealthy, elite friend of a woman (Terre Velasquez) who is caught in a serious dilemma. Her family has fallen on hard times and she needs to help them, however she can. She decides to marry her monied friend, and once the wedding is behind her, the challenges of moving in the upper echelons of society and somehow making the most of the marriage give rise to humor, and eventual happiness for all concerned. ~ Eleanor Mannikka, All Movie Guide

Based on the authentic Mexican legend first filmed in 1933 as La Llorona, this film begins with a flashback to a gruesome railway murder, setting up the legend of the wailing woman. In the present, a couple (Abel Salazar, Rosita Arenas) travels to a spooky mansion where evil Rita Macedo is trying to revive the mummified La Llorona. Macedo, the wailing ghost, and a deformed caretaker (Enrique Lucero) terrorize the central couple in fairly standard, ho-hum fashion, but director Rafael Baledon uses some interesting techniques to build atmosphere, and Arenas is solid as the imperiled heiress. ~ Robert Firsching, All Movie Guide

Professor Dolan (Domingo Soler) is engaged in a battle of wits with Nostradamus (German Robles), a wicked creature of the undead who is related to the famous French prophet of the same name. Nostradamus wants Dolan to use his influence to help clear the name of his besmirched ancestor, but he refuses. The evil vampire pledges to kill innocent people until he gets his way, so he starts sending Dolan letters telling him the names of his next victims and it's up to the good Professor and his youthful friend Anthony (Julio Aleman) to intervene. Though he has a hunchback who watches over his crypt, Nostradamus converts a convict on death row into vampirism as well, giving him another slave to help carry out his diabolical plans. The Professor is on the board of directors for a committee that is fighting superstition in the culture, though his public statements about the existence of vampires are causing his fellow chairmen to question his sanity. When he pleads with the committee to help him fight the menace that is Nostradamus, they scoff and he tenders his resignation with impudence. Soon he joins forces with Igor (Jack Taylor), a mysterious man descended from a long line of vampire slayers who is actually immune to their attacks. Can they stop this army of the undead? Monster Demolisher was originally part of a Mexican horror serial that was dubbed into English and compiled into four feature-length films for American television. Other titles in the series include The Curse of Nostradamus, The Blood of Nostradamus, and Genie of Darkness. ~ Fred Beldin, All Movie Guide

This film (and a few others) on one of Mexico's most well-known rebels was released in celebration of the 50th anniversary of the revolution. In this instance, Pancho Villa (Pedro Armendariz) is presented as a contradictory mix of elements, as though several different people were residing in the same persona. He is at times shown as a genius at strategy, at other times he is an ignorant peasant. Whether an idealistic fighter for the rights of the people or a simple bandit, the personality of the man is emphasized over historical accuracy. And in that regard, his liaison with Valentina (Elsa Aguirre), another revolutionary, is naturally the focus of attention. ~ Eleanor Mannikka, All Movie Guide

A simple and tragic situation is deftly developed in this family tragedy by director Julian Soler. Unlike the melodramas common to Mexican cinema, this story about the dying son of loving parents shies away from exaggeration -- there is no need for it. The mother in the family (Marga Lopez) is in anguish over her son's illness, knowing that he will die slowly and painfully, with no possible cure or reprieve in sight. Her husband shares her feelings and between the two of them, they have to come to a decision as to whether they should end their son's life peacefully or keep him alive until a more agonizing, natural death claims him. In the end, it is the mother that has to ultimately make the decision. ~ Eleanor Mannikka, All Movie Guide

Judging by the number of times it has shown up on Spanish-language cable TV, La Escandida is one of the most popular and best beloved of the Maria Felix vehicles. The star runs the emotional gamut as Gabriela, who rises from the depths of poverty to the heights of Mexican society as a much-sought-after courtesan. Eventually, however, Gabriela proves that she is still true to her peasant heritage by casting her lot with the rebels in the 1916 Mexican civil war. Pedro Armendariz co-stars as Felipe, the charismatic rebel leader who wins Gabriela's heart -- and inadvertently causes her downfall. La Escandida is stunningly photographed by the late, great Gabriel Figueroa. ~ Hal Erickson, All Movie Guide

Con el Diablo en el Cuerpo stars Luis Aguilar as Lucio, a man who is all set to marry the woman of his dreams when some shady characters from her past appear. These old acquaintances make life extremely difficult for the couple. ~ Perry Seibert, All Movie Guide

The Spanish language drama La Vida No Vale Nada stars Pedro Infante as Pablo, a stranger new to town who finds work in the antique shop of widow Cruz (Rosario Granados). The two fall in love, even though the local priest makes it clear he believes Pablo is unworthy of her company. Pablo messes up this seemingly idea situation when he goes on a drinking binge and reverts back to the less than honorable ways familiar to him. ~ Perry Seibert, All Movie Guide

This minimalist Mexican romantic comedy offers the premise that affairs of the heart are dictated by the full moon. Under the lunar lumniscence, George Negrete and Raquel Rojas meet. It is love at first sight, but the ardor cools whenever the cycles of the moon fluctuate. All turns out well in the end, but not without a few emotional "blackouts". Regionally distributed in the US upon its first release, When the Stars Travel occasionally resurfaces on Spanish-language cable TV. ~ Hal Erickson, All Movie Guide

Based on a play by Carlos Arniches, the Mexican No Te Ofendas, Beatriz (Don't Be Offended, Beatrice) is a sophisticated romantic comedy with just a dash of raciness. Abel Salazar (before he became a horror-flick specialist), Manuel Fabregas, Alma Rosa Aguirre and Anabel Guiterrez are the principal farceurs. When not dealing with the amorous entanglements of the four protagonists, the film finds time to poke fun at several Mexican institutions, including the nation's haphazard TV service. Domingo Saler, brother of director Julian Soler, co-stars as Aguirre's father. Since the principal appeal of No te Offendas, Beatriz is its dialogue, the film may not play as well in its English-subtitled version. ~ Hal Erickson, All Movie Guide