Playing with Fire: Rafael Aviña on Roberto Gavaldón and Untouched

Mario Adorf, Anna Karina, Marie Laforêt, Lea Massari, Tomas Milian, and Valeria Moriconi in The Camp Followers (1965)

Maria Fiore in Two Cents Worth of Hope (1952)

Marcello Mastroianni, Bruno Berellini, Wanda Capodaglio, Irene Cefaro, Adolfo Consolini, Anna Maria Ferrero, Cosetta Greco, Antonella Lualdi, Garibaldo Lucii, Giuliano Montaldo, Andrea Petricca, Gabriele Tinti, and Eva Vanicek in Chronicle of Poor Lovers (1954)

Pedro Armendáriz

Anita Blanch

Rebeca Iturbide

Luis Spota

José Revueltas

Jesús Cárdenas

Marcos is an arrogant jai-alai player who seduces and discards women until he himself becomes the object of a cunning revenge.

Roberto Gavaldón

La noche avanza

A rare spearhead of the Mexican Noir

In &quot;La noche avanza&quot; there are no good or decent characters. There are only anti-heroes and self-assumed victims who do not hesitate a second to become perpetrators to take revenge on their own perpetrators: jealous, liars or possessive women, dangerously self-destructive; And men whose maximum value is opportunism. There is no trait of kindness here, only facets of selfishness. Considering the improbability of this happening (not only in Mexican cinema of that time but in cinema in general), La noche avanza has a spectacular and quirky freshness.

In addition, the frenzy accelerates as the night advances. Quite a few scenes from the second half of this film could be considered even pre- tarantinescan. So far the best movie I&apos;ve found of the so-called Mexican Noir and the second best of the director Roberto Gavaldón (after Macario, 1960).

In "La noche avanza" there are no good or decent characters. There are only anti-heroes and self-assumed victims who do not hesitate a second to become perpetrators to take revenge on their own perpetrators: jealous, liars or possessive women, dangerously self-destructive; And men whose maximum value is opportunism. There is no trait of kindness here, only facets of selfishness. Considering the improbability of this happening (not only in Mexican cinema of that time but in cinema in general), La noche avanza has a spectacular and quirky freshness.

In addition, the frenzy accelerates as the night advances. Quite a few scenes from the second half of this film could be considered even pre- tarantinescan. So far the best movie I've found of the so-called Mexican Noir and the second best of the director Roberto Gavaldón (after Macario, 1960).

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La noche avanza

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