To say that Pedro Infante is Mexico's national hero is not an exaggeration. But, of course, you can always call him "El Inmortal" if you're not ready to accept that moniker. Read on to learn some of the timeless classics from him.
His story is the epitome of "rags-to-riches." Despite his modest beginnings in Sinaloa, Infante became a major star in Mexico. Even though he was primarily a tenor than a Crower, he was nicknamed the king of ranchers as part of the trio Los three gallos mexicanos, including his on-screen opponent Jorge Negrete. He was compared to American contemporaries like Elvis Presley, Frank Sinatra, and even Humphrey Bogart because of his smooth voice and magnetic personality. But he always kept in touch with his background, and much of his writing centers on social stratification.
Pedro Infante and Ismael Rodrguez teamed together for the first film of a Pepe el Toro trilogy, and here is it. Jose "Pepe" del Toro (Infante), a poor carpenter, is raising his adoptive daughter Chachita (Evita Muoz, Veracruz's equivalent to Shirley Temple), even while pursuing La Chorreada (Mara Blanca Estela Pavón). Names like "La Tsica," which means "The Tuberculous," provide a Dickensian touch to the story. Despite its bleak depiction of social stratification in Mexico, the film is buoyed by rousing music and a plethora of boleros.
One of the highest-grossing movies in Mexican history, "Nosotros Los Pobres" has spawned a pair of follow-ups. In this first sequel, directed by Ismael Rodrguez, the melodrama is turned up to 11. Pepe is falsely convicted of murder and must battle to defend his identity while protecting his niece Chachita from her wealthy aunt. In addition, the film again focuses heavily on class distinctions, this time by portraying the impoverished as models of morality and turning most affluent people into Snidely Whiplash.
El Inocente is a humorous frolic that attempts to address the socioeconomic concerns that drove the Pepe el Toro films. In the role of Cruci, a machinist who falls in love with Mané, a lady from a higher socioeconomic class, Infante revisits his working-class roots. However, on New Year's Eve, they get a bit too close, prompting her to marry to protect her reputation. Cruci has to win over his future bride in front of his in-laws while maintaining his dignity and respect for his modest upbringing.
Because this was Pedro Infante's last feature, the fact that it was likewise one of the penultimate films made during la Época de Oro adds a lyrical touch. In his role as Tizoc, an Indian from the Oaxacan mountains, he develops feelings for Maria Félix's Mara, a wealthy Creole woman from the city. Tizoc must overcome the prejudice of the locals and beat off rivals for Mara's affection.
