Jesse's Blog: A History of Mexican Cinema
Every week for the past two years at Hibbleton Gallery, Steve Elkins and I have hosted movie nights.  Our goal is to shine a light on inter...
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Every week for the past two years at Hibbleton Gallery, Steve Elkins and I have hosted movie nights. Our goal is to shine a light on international films, art films, and great directors. Every month, we choose a theme, and then Steve usually curates a series of films. We have explored the films of countries like Iran, Mongolia, and India. We've curated months around great directors like Andrei Tarkovsky, Ingmar Bergman, Jean-Luc Godard, and Werner Herzog. Sometimes I feel like we are running a little film school. For the next couple months, we are going to focus on the cinema of Mexico. To prepare for this, I've just finished reading a very informative book called Mexican Cinema: Reflections of a Society by Carl J. Mora, which gives a fairly comprehensive history of Mexico's cinema. As I read, I jotted down the names of films and directors to check out. By the time I finished the book, this list encompassed over 100 films, spanning over a century. Mexican cinema is a very deep gold mine, with lots of treasures to be found. Unfortunately, most of these films are not well-known outside Mexico and Latin America. And so, in the interest of shining a light on the cinematic history of our neighbor to the south, I have decided to share all of the films I learned about, with a little information about each. Now that we have this list as a kind of road-map, Steve and I are in the process of finding, screening, and selecting which films to screen for our Mexican Cinema series in July and August. I have included links which give more information on these films and directors. So here it is...a history of Mexican cinema! Enjoy, amigos!

The Silent Era (1896-1929)

Two early pioneers of Mexican cinema were Salvador Toscana Barragon and Enrique Rosas, who opened “salons” in Mexico City where early foreign movies were shown. Both men also made films of their own, and laid the groundwork for the success of later filmmakers and theaters. The relative peace in Mexico at the beginning of the twentieth century was shattered by the Mexican Revolutioin, which began in 1910, and continued until about 1920. It was a bloody civil war that claimed millions of lives and deeply upset the economy, and fledgling film industry of Mexico. Toscana used his film equipment to document some of the important events of the Revolution, and his daughter eventually compiled her father’s footage into a stunning documentary called Memorias de un Mexicano (Memories of a Mexican). The Mexican Revoution, a conflict not well-understood by most Americans, would become a recurring theme of many later Mexican films.

1.) Memorias de un Mexicano (Memories of a Mexican) directed by Salvador Toscana Barragon (compiled in 1950). Documentary footage shot by early filmmaker Toscano, mainly dealing with the Mexican Revolution.

2.) El Grito de Dolores (The Cry of Dolores) directed by Felipe de Jesus Haro (1908). Early fictional depiction of the struggle for Mexican independence.

3.) Sangre Hermana (Blood of Brothers). 1914. Documentary about Zapatista Revolutionary struggle.

4.) 1810 o Los Libertadores de Mexico (1810, or The Liberators of Mexico). 1916. About Mexican independence.

5.) En Defensa Propia (In Self Defense) directed by Joaquin Coss (1917). Fictional romantic drama.

6.) La Luz (The Light) directed by Ezequiel Carrasco (1917). Upper class drama.

7.) La Banda del Automovil Gris (The Gray Car Gang) directed by Enrique Rosas (1919). Best film of the silent era, about a real car gang in Mexico City.

The First Sound Films (1930-1939)

Probably the most important filmmaker of the early sound era was Fernando de Fuentes, whose Revolution Trilogy is the most comprehensive and insightful cinematic portrayal of all sides of the Mexican Revolution. Because the country was still recovering from the Revolution, not a lot of films were made in the 1930s. De Fuentes’ trilogy is the most significant of the period. Also significant was Russian filmmaker Sergei Eisenstein's unfinished film Que Viva Mexico which focused on the beauty of the lives of ordinary Mexicans. Eisenstein had made a name for himself in the 1920s with the Soviet films Battleship Potemkin and Strike. In 1930, he traveled to Mexico, hung out with artists like Diego Rivera, and began shooting his film, which was never officially completed. However, many years later, Eisenstein's assistant compiled the footage into a film, which was released in 1979.

8.) Santa directed by Antonio Moreno (1931). Dramatic tragedy about a woman’s fall from grace.

9.) Que Viva Mexico! directed by Sergei Eisenstein (1930s). Unfinished film—historical scenes from rural Mexico shot by important Russian filmmaker.

10.) The Revolution Trilogy of Fernando de Fuentes (1933-1935): El Prisonero Trece (Prisoner 13), El Compadre Mendoza (Father Mendoza), Vamonos con Pancho Villa! (Let’s Go With Pancho Villa!). Best cinematic depiction of the Mexican Revolution.

11.) Alla en el Rancho Grande (On the Big Ranch) directed by Fernando de Fuentes (1936). First “charro” (singing cowboy) film starring Tito Guizar.

12.) La Mujer de Nadie (Nobody’s Woman) directed by Adela Sequeyro (1937). First Mexican film directed by a woman.

The "Golden Age" Part 1: The 1940s

The 1940s and 1950s are generally considered the "Golden Age" of Mexican cinema. Throughout the 20th century, Mexico has suffered various political and economic crises, but ironically during World War II, Mexico's economy saw a boon, and this helped the growing film industry. Notable actors from the 1940s were comedian Cantinflas (Mario Moreno), singing cowboy ("charro") Jorge Negrete, and Dolores Del Rio, who also became famous in Hollywood. Notable directors include Juan Bustillo Oro, Alejandro Galindo, Emilio Fernandez, Julio Bracho, and Miguel M. Delgado.

13.) Ay, que Tiempos, Señor Don Simon! (Oh, What Times, Mr. Don Simon!) directed by Julio Bracho (1941). Musical.

14.) Ahi Esta el Detalle (There is the Detail) directed by Juan Bustillo Oro (1940). First comedy starring Cantinflas.

15.) Ni Sangre Ni Arena (Neither Blood Nor Sand) directed by Alejandro Galindo (1941). Cantinflas’ second film.

16.) El Gendarme Desconocido (The Unknown Policeman) directed by Miguel M. Delgado (1941). Cantinflas’ third film.

17.) Cuando Los Hijos Se Van (When the Children Leave) directed by Juan Bustillo Oro (1941). Family drama.

18.) Ay, Jalisco no the Rajes! (Oh, Jalisco, Don’t Back Down) directed by Joselito Rodriguez (1941). Famous “charro” Jorge Negrete’s first film.

19.) La Isla de la Pasion (The Island of Passion) directed by Emilio “El Indio” Fernandez (1941). Historical drama dealing with natives of Mexico.

20.) Flor Silvestre (Wild Flower) directed by Emilio Fernandez (1943). Drama starring Dolores del Rio about a woman's recollections of the Mexican Revolution.

21.) Maria Candelaria directed by Emilio Fernandez (1943). Romantic tragedy starring Dolores del Rio. First Mexican film to be screened at the Cannes film festival, where it won the grand prize.

22.) Distinto Amanecer (A Different Sunrise) directed by Julio Bracho (1943). Urban film noir/thriller.

23.) Dona Barbara directed by Fernando de Fuentes (1943). Drama about power struggle between a female landowner and her male rival starring Maria Felix.

24.) Mexico de Mis Recuerdos (Mexico of my Memories) directed by Juan Bustillo Oro (1943). Nostalgic depiction of the days of pre-Revolutionary Mexico under Porfirio Diaz.

25.) La Barraca (The Cottage) directed by Roberto Gavaldon (1944). Historical drama about hardships of a rural family.

26.) Mexican Disney Cartoons: Saludos Amigos (1943) and The Three Caballeros (1945).

27.) Rio Escondido (Hidden River) directed by Emilio Fernandez (1947). Drama/social commentary about a strong-willed woman who must repel the advances of a small town's tyrannical sheriff.

28.) Enamorada (Woman in Love) directed by Emilio Fernandez (1947). Adaptation of William Shakespeare's The Taming of the Shrew set during the Mexican Revolution.

29.) Nosotros Los Pobres (We the Poor) directed by Ismael Rodriguez (1947). Social realism/musical about poverty in Mexico.

30.) El Muchacho Alegre (The Cheerful Lad) directed by Alejandro Galindo (1947). Rural drama.

31.) Esquina Bajan! (Corner, Getting Off!) directed by Alejandro Galindo (1948). Drama about unionized workers.

32.) Una Familia de Tantas (An Average Family) directed by Alejandro Galindo (1948). Family drama/social commentary.

33.) The films of Tin-Tan (German Valdez): Hay Muertos que no Hacen Ruido (1946), Calabacitas Tiernas (Tender Little Pumpkins) (1948), El Rey del Barrio (The King of the Neighborhood) (1949). Comedies about a "Pachuco" (zoot suit wearing Mexican hipster) with /social commentary.

The "Golden Age" Part 2: The 1950s

The 1950s saw the decline of the Golden Age of Mexican cinema, as the country faced further economic, political, and social difficulties. Probably the most interesting director of the 1950s and early 1960s was Spanish filmmaker Luis Bunuel, who made a series of films in Mexico before returning to Europe. Bunuel is known for his early film collaboration with artist Salvador Dali "Un Chien Andalou" (The Andalusian Dog), which brought surrealism to cinema. Bunuel would continue to incorporate surrealistic elements in his Mexican films.

34.) Espaldas Mojadas (Wetbacks) directed by Alejandro Galindo (1953). Social commentary about illegal immigration to the US.

35.) Los Fernandez de Peralvillo (The Fernandezes of Peralvillo) directed by Alejandro Galindo (1953). Social drama about encroachment of American commercial products into Mexico.

36.) Los Olvidados (The Young and the Damned) directed by Luis Bunuel (1950). About the brutal lives of slum children in Mexico city.

37.) Ensayo de un Crimen (The Criminal Life of Archibaldo de la Cruz) directed by Luis Bunuel (1955). Surreal satire of bourgeois social conventions.

38.) Raices (Roots) directed by Benito Alazraki (1953). Based on four stories about rural life in Mexico and anthropology.

39.) Nazarin (The Nazarene) directed by Luis Bunuel (1958). About the crises of a small-town parish priest.

The 1960s

As in other countries around the world (including the United States), the 1960s were a time of great political and social change in Mexico. This was perhaps best (and infamously) represented by the massive student movement in Mexico, which was violently suppressed by the government in the Tlatelolco Massacre, in which government forces killed hundreds of student protestors. Ironically, 1968 was also the year Mexico City hosted the Olympic Games. Luis Bunuel continued to make surreal films in the early 1960s. Other important directors who came on the scene in the 60s were Luis Alcoriza, Garia Ascot, Ruben Gamez, Alberto Isaac, and Roberto Gavaldon.

40.) Macario directed by Roberto Gavaldon (1960). First Mexican film to be nominated for the Academy Award for Best Foreign Language Film. Rural drama about celebrating the Day of the Dead in colonial Mexico.

41.) Los Jovenes (The Youths) directed by Luis Alcoriza (1961). Drama about rebellious middle class youths.

42.) En El Balcon Vacio (On the Empty Balcony) directed by Garia Ascot (1961). About a woman’s memories of the Spanish Civil War.

43.) Viridiana directed by Luis Bunuel (1961). Surrealist satire of borgeouis and catholic social conventions.

44.) Tlayucan directed by Luis Alcoriza (1961). Comedy about small-town life. Nominated for Academy Award.

45.) El Angel Exterminador (The Exterminating Angel) directed by Luis Bunuel (1962). About a surreal dinner party in which no one can leave.

46.) Tiburoneros (Shark Fishermen) directed by Luis Alcoriza (1962). Drama about a businessman who becomes a shark fisherman.

47.) Simon Del Desierto (Simon of the Desert) directed by Luis Bunuel (1965). Religious farce.

48.) La Formula Secreta (The Secret Formula) directed by Ruben Gamez (1965). Dark comedy about Mexican identity.

49.) En Este Pueblo No Hay Ladrones (In This Town There are No Thieves) directed by Alberto Isaac (1965). Based on a short story by Gabriel Garcia Marquez.

50.) Olimpiada en Mexico (Olympiad in Mexico) directed by Alberto Isaac (1968). Documentary about the 1968 Olympics in Mexico City.

51.) El Grito (The Cry) directed by Leobardo Lopez Aretche (1968). Documentary about student movement in Mexico, and the government’s violent response.

The 1970s

The 1970s saw the continuation of two interesting strands of Mexican filmmaking: surrealism and stinging social commentary. Alejandro Jodorowsky continued the surrealist vein with trippy religious epics like El Topo (The Mole) and The Holy Mountain (easily one of the strangest films ever made). Directors dealing with the complex socio-political problems that continued to plague Mexico include Alfredo Joskowic, Gustavo Alatriste, Alberto Isaac, Luis Alcoriza, Jesus Salvador Trevino, and Felipe Cazals (a director whose films are, frustratingly, unavailable in the US). The 1970s also saw the continuation of the Chicano Movement in the United States, and some Mexican films reflected this emerging consciousness. Films of the 1970s, as in previous and later decades, also dealt with the complex issue of Mexican immigration to the US.

51.) El Topo (The Mole) directed by Alejandro Jodorowsky (1970). Surrealist western.

52.) Crates directed by Alfredo Joskowic (1970). About the aftermath of the 1968 student movement.

53.) Medicana Nacional (National Mechamics) directed by Luis Alcoriza (1971). Satire about urban lower middle class.

54.) La Montana Sagrada (The Holy Mountain) directed by Alejandro Jodorowsky (1973). Surrealist religious epic.

55.) El Juicio de Martin Cortes (The Trial of Martin Cortes) directed by Alejandro Galindo (1973). About the illegitimate son of conquistador Hernando Cortes.

56.) Ante El Cadaver de un Lider (Before the Corpse of a Leader) directed by Alejandro Galindo (1973). Dark comedy.

57.) De Sangre Chicana (Of Chicano Blood) directed by Pepito Romay (1973). Film about Mexican-American “Chicanos”.

58.) Mexico, Mexico, Ra, Ra, Ra directed by Gustavo Alatriste (1974). Satire.

59.) Tivoli directed by Alberto Isaac (1974). About redevelopment in Mexico City, and the closing of an old burlesque theater.

60.) Canoa directed by Felipe Cazals (1975). About violence in the village San Miguel Canoa.

61.) El Apando (Solitary Confinement) directed by Felipe Cazals (1975). About prison life.

62.) Raices de Sangre (Roots of Blood) directed by Jesus Salvador Trevino (1976). About the efforts of factory workers along US/Mexico border to unionize.

63.) La Casta Divina (The Divine Caste) directed by Julian Pastor (1977). About Mexican aristocracy on the eve of the 1910 Revolution.

64.) El Ano de la Peste (The Year of the Plague) directed by Felipe Cazals (1978). Science fiction dystopia about a plague.

65.) Llamame Mike (Call Me Mike) directed by Alfredo Gurrola (1979). Private eye film.

66.) Dias de Combate (Days of Combat) directed by Alfredo Gurrola (1979). Private eye film.