Watching La Otra recently I noticed that Roberto Gavildón re-uses his sets. Compare Dolores Del Rio on the staircase in La Otra (1946) in the image on the left below to Arturo de Córdoba looking on at María Felix in La Diosa arollidada (1947) on the image on the right below. A minor geek moment that I’d nonetheless like to record.
Another comparison I’d like to note here, and something I’d like to write more on when I have more time, is the endings of both films, which I’ve extracted below. Two women lose what they wanted, both are incarcerated by past actions, Dolores Del Rio literally and María Félix metaphorically. Both endings take place in a jail and Gavaldón makes full use of expressionist shadows, of angles that emphasise a lack of future, the result of a shadowy and criminal past; note too the music, the rythms of the shots, the highly stylised dialogue and the consistent use of symbols and metaphors. A more considered response will follow if time permits. But in the meantime, have a look for yourself. The first, in slight blurrovision, is from La otra; the second is a much higher quality clip of the great ending of La Diosa arrodillada, filmed the year after.