VICTIMAS DEL PECADO (VICTIMS OF SIN) is a very Mexican melodrama that focuses on the position "marked women" have in the underbelly of society where pimps control what their women can or cannot do, and they entertain and are not allowed to have children inasmuch as be curvaceous fixtures that dance the night away. Ninon Sevilla, a dancer herself and an icon of the times, plays Violeta, a cabaret dancer at Cabaret Chango who witnesses one of her co-workers, Rosa (Margarita Ceballos), fall from grace when she winds up bearing the child of her pimp, Rodolfo (Rodolfo Ayala). Rodolfo faces Rosa with the tough decision to keep the child of stay with him. Rosa, completely co-dependent on Rodolfo, abandons her baby in a garbage can. Violeta, outraged, rescues it and becomes the baby's mother, which brings her a huge amount of trouble from the cabaret manager, who fires her, to Rodolfo himself, who gets into a violent altercation with her when he encounters her as a hooker working the streets. Fortunately for her, she gets a chance at redemption when she becomes the protégée and later wife of Santiago (Tito Junco), but not before Rodolfo walks back into her life.
This is a rather sordid story that Emilio "El Indio" Fernandez directed, one that has a good amount of melodrama without going overboard like many of the movies of its time -- notoriously Hollywood productions that featured strong-willed actresses playing equally larger-than-life heroines. Ninon Sevilla plays a character not too far removed from the likes of Bette Davis' character in MARKED WOMAN, even though Davis never got the chance to sing or dance due to major cultural differences and the fact that MARKED WOMAN was a movie produced under the heavy eye of the Hays Code, while VICTIMAS DEL PECADO was not. Sevilla's Violeta goes one step further than Davis' Mary Dwight: she is a tough-as-nails female who doesn't think twice to pounce on a man who would touch her the wrong way or pump his body with bullets at the outrage of having her life invaded, and her suffering in a women's prison is quite touching even when she doesn't overdo it. She has a strong but not overpowering presence throughout, which makes her character's plight more believable, balanced with her physicality which is erotic, but not overbearingly so -- closer to Violeta's reserved sensuality.
A strong melodrama from Mexico, one that allows Ninon Sevilla to twirl like Ann Miller (and show off that spectacular body). It has strong support from both Junco and Ayala, a cameo appearance by Pedro Vargas, and a particularly funny performance from Rita Montaner who has an outrageous scene where she chews out the cabaret manager after having sung a terrifically salacious song about a woman telling her man how to have sex with her the right way.
This is a rather sordid story that Emilio "El Indio" Fernandez directed, one that has a good amount of melodrama without going overboard like many of the movies of its time -- notoriously Hollywood productions that featured strong-willed actresses playing equally larger-than-life heroines. Ninon Sevilla plays a character not too far removed from the likes of Bette Davis' character in MARKED WOMAN, even though Davis never got the chance to sing or dance due to major cultural differences and the fact that MARKED WOMAN was a movie produced under the heavy eye of the Hays Code, while VICTIMAS DEL PECADO was not. Sevilla's Violeta goes one step further than Davis' Mary Dwight: she is a tough-as-nails female who doesn't think twice to pounce on a man who would touch her the wrong way or pump his body with bullets at the outrage of having her life invaded, and her suffering in a women's prison is quite touching even when she doesn't overdo it. She has a strong but not overpowering presence throughout, which makes her character's plight more believable, balanced with her physicality which is erotic, but not overbearingly so -- closer to Violeta's reserved sensuality.
A strong melodrama from Mexico, one that allows Ninon Sevilla to twirl like Ann Miller (and show off that spectacular body). It has strong support from both Junco and Ayala, a cameo appearance by Pedro Vargas, and a particularly funny performance from Rita Montaner who has an outrageous scene where she chews out the cabaret manager after having sung a terrifically salacious song about a woman telling her man how to have sex with her the right way.