海关工作人员正在四处寻找皮特·里奇的各种消息。皮特·里奇被卷入一桩巨大的毒品走私案，而且使这桩走私交易中的头头。警察局官员、美丽动人风情万种的马德琳娜·哈勒为了取得走私头子皮特·里奇的信任，开始乔装打扮进入地下走私团体。不久，通过一位中间人，她就见到了传说中的皮特·里奇。他们开始进行愉快的交谈。但不幸的是，就在谈话进入高潮的时候，里奇的随从之一和一位名叫强尼·马科林的人闯了进来。他们挑起了一场猛烈的对质，想要查明马德琳娜·哈勒的真实身份。从那一刻起，哈勒就处在一种极度的危险中，因为它必须考虑有关走私的每一个具体操作是什么。

1948 film by Emilio Fernández

Mercedes works as a cabaret performer to pay for her sister's studies. Problems begin when Mercedes and Paco, her exploiter, win a dance contest, but he refuses to share the prize with her.

A story about two men caught in the Mexican revolution: close friends before, but now on the opposite sides. One of them is military officer, while the other one expects capital punishment. The prisoner's mother comes to visit his son, unaware that his former best friend is now his enemy.

1959 film by Juan Antonio Bardem

A newly married American couple vacationing in Mexico is prevented by the police from leaving Acapulco when the husband becomes prime suspect in a local girl's homicide

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

Armendáriz was terrific in this. I won't repeat the praises from prior reviews, I concur.
My only problem with this film is that it wasn't true to the revolution. In that sense, it was indeed a Fernandez film as neither was he true to the revolution. He gave a Cristero slant to the issues of Church/State and redistribution of wealth. Just take it as a love story set in the revolutionary period and try to ignore the political bias. Jeeze, you'd think he'd have shown more gratitude having been pardoned by Lázaro Cárdenas for his treason.
Pedro Armendáriz, María Felix and the town of Cholula were the great stars of this film. The exteriors were certainly shot in Cholula.
There were some snippets of revolutionary period music (La Adelita and El Tren) and an anachronistic performance of Malageña Salerosa when he had mariachi serenade María Felix. That song is so lovely, I didn't mind.