You are here:

They also sing of pain

Name: They also sing of pain
Director: René Cardona
Released: 1950
Duration: 97 min

Representation Score

4.6/10

Fair

1950

TV-PG

Director

René Cardona

Runtime

97 minutes

Average Rating

No ratings yet

New Showbiz Analysis

This film is a product of the Golden Age of Mexican cinema, deeply rooted in the social and moral frameworks of its era. It prioritizes traditional narrative structures and mid-century melodrama over challenging cultural norms. The representation is largely conventional, focusing on established social hierarchies and domestic roles. While it provides a non-Western perspective on class, it lacks the complexity found in more progressive works. Ultimately, the film reinforces mid-century Mexican familial values without critiquing them.

Watch this, not that →

Category Breakdown

Does They also sing of pain have LGBTQ+ representation?

Minimal

The film does not include any LGBTQ+ characters or narratives. It follows the traditional domestic structures and social conventions of 1950s Mexico.

How does They also sing of pain portray gender?

Fair

Braulio Peláez is the central provider, reinforcing traditional gender roles. Female characters drive the subplot of stardom, but their actions remain tied to domestic aspirations.

How racially and ethnically diverse is They also sing of pain?

Fair

The film centers Mexican identity and social realities. It offers a localized perspective on class and aspiration, diverging from Hollywood's Anglo-centric norms.

How does They also sing of pain represent religion and culture?

Limited

The story celebrates family cohesion, hospitality, and honor. It aligns with mid-century traditional values and the pursuit of upward mobility through conventional means.

Does They also sing of pain include disability representation?

Limited

Physical disorientation, such as losing glasses, serves as a comedic plot device. This uses impairment to drive the story rather than portraying lived disability.

Present on Screen

Centers Mexican identity and social realities.
Provides a localized perspective on class and aspiration.

Limited or Absent

Reinforces traditional gender hierarchies and domestic roles.
Uses physical impairment primarily as a comedic plot device.
Lacks LGBTQ+ representation or narratives that question traditional relationships.

Official Synopsis

The movie starts with Braulio Peláez (Pedro Infante), a schoolteacher, having just fallen off his horse, representing the situation he and his family are in. The next scenes introduce the viewer to his family and their poor financial and social situation. As Braulio stumbles around looking for his glasses, he causes a famous film star, Alfonso de Madrazo (Rafael Alcaide) to crash his car. Braulio offers him to eat at his house as an apology. Braulio's sister and mother, big film fans, immediately recognise Alfonso and attempt to get him to bring the girl, Luisa Peláez (Irma Dolores) to Mexico City to become a film star. Alfonso agrees and tells them to come to the capital.

How are these scores produced? →