A Disappointing Continuation

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Armendáriz was terrific in this. I won't repeat the praises from prior reviews, I concur. My only problem with this film is that it wasn't true to the revolution. In that sense, it was indeed a Fernandez film as neither was he true to the revolution. He gave a Cristero slant to the issues of Church/State and redistribution of wealth. Just take it as a love story set in the revolutionary period and try to ignore the political bias. Jeeze, you'd think he'd have shown more gratitude having been pardoned by Lázaro Cárdenas for his treason. Pedro Armendáriz, María Felix and the town of Cholula were the great stars of this film. The exteriors were certainly shot in Cholula.There were some snippets of revolutionary period music (La Adelita and El Tren) and an anachronistic performance of Malageña Salerosa when he had mariachi serenade María Felix. That song is so lovely, I didn't mind.

The time is 1821, and Mexican revolutionary Jose Juan Reyes (the handsome and formidable Pedro Armendariz) rides into the town of Cholula. He immediately rounds up the local bourgeoisie, with the intention of using those who are useful and disposing of the rest, including those who profess a dishonest attachment to the Revolution. He doesn't count on two factors: the moral intervention of his old seminary chum Rafael (Fernando Fernandez) and the burning hot contempt of a beautiful rich young thing (Maria Felix). The film starts off with a bang, and an extended early scene between Armendariz and Fernandez seems to imply the film will be a lengthy and earnest dissertation on Mexican political philosophy. Once Felix puts in an appearance, however, the film veers off in a slightly different direction, with some amusing comic romance scenes playing out between the rich man's daughter and the powerful general. It goes without saying that Enamorada was well shot by the great Gabriel Figueroa, and magnificent character actor Miguel Inclan (the blind man in Los Olvidados) has fun with his role as Reyes' loyal flunky Bocanegra (though not as much fun as he had in Fernandez' superior La Perla!). Though a little light on substance, Enamorada is still a very worthwhile motion picture.

Pedro Armendáriz is the most handsome man I ever know, he illuminated the screen, when he appear all the harts stop's and you don't think in anything just in him. In this film, he is a General or the Mexican Revolution who has an important mission, but he fall in love with Beatriz (María Félix) who is the rich woman in the town (Puebla). That confrontation with his love and the mission is so wonderful. Thats why I say that all have hart, everybody thought that the revolutionaries doesn't think in that, but love is love and the hart has reasons that the reason doesn't understand. This is my favorite film, great actors, excellent Director (Emilio Fernández), lovely photography (Gabriel Figueroa), spectacular natural stages. In this film doesn't have a lot of dialog, all is with the eyes and the feeling's of the actors. I also recommended "La Malquerida", "Las Abandonadas", "La Bandida", "Bugambilia". Thank's for all this art. Jacqueline Arch

This might or not be a Mexican "Taming of the shrew", but certainly it's a classic from the Mexican golden era. Some might remember it as a Felix/Armendariz movie, but I can assure you it is a Fernandez/Figueroa movie for two reasons; "Enamorada" and "The Torch". By this time, Fernandez, Figueroa and Armendariz were already well known in Hollywood, not only because of their recent success of "Maria Candelaria" (with the former Hollywood star Dolores Del Rio) obvious reasons to bring a lot of attention. Maybe that's why it wasn't equally distributed and popularized in USA, perhaps someone fall in love with it, to the point of buying it and redo it in an English version. An English version that excluded Maria Felix, but included a former Mrs. Chaplin (who also produced) and Pedo Armendariz with some of the original crew, and Cholula and the volcanoes of Puebla in the background. But no matter what version you see first, this one is by far better, but not much more realistic, considering what was the reality of the Revolution years.