Lupe (María Elena Marqués) is arrested for stealing in the market; the police send her to a renowned forensic doctor who is single (Antonio Badú), to be a subject for his research into genetic differences in the criminal underworld. The doctor does not know that Lupe is not really a thief, but is merely posing as one in an attempt to infiltrate a criminal cell that is threatening her father. Despite her personal background, Lupe, colluding with the doctor’s sister, gains a foothold in the house, where she is employed as a maid. Social conventions marginalize her, but soon her secret will be revealed. Carita de cielo (Angel face) is a singular comedy of errors, the main purpose of which is to exploit the leading actress’ previous success in Doña Bárbara (Fernando de Fuentes, 1943). Even if the comedy filmed by José Díaz Morales is occasionally absurd, the movie’s cast elevates it to a classic of its time. Fernando Soto Mantequilla, who appears at certain moments in a role reminiscent of the great Cantinflas, confirms scene after scene his status as one of the great supporting actors of Mexican cinema. In Carita de cielo, the comedy of manners transcends all its limitations as soon as Ninón Sevilla appears on-screen. The producer, Pedro Calderón, added her to a plot that was already farfetched, attracted by the beauty of this showgirl who had just arrived from Cuba. The producer decided to include her in two musical numbers that have no connection to the plot. His gamble paid off because Ninón Sevilla’s charisma and magnetism keep the eyes of the spectator focused on her. This was not just the beginning of a long film career for the Cuban actress and dancer; it was also the first appearance of the Caribbean music legend Benny Moré on the big screen.

Viviana García Besné and Gerardo Salcedo