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Abstract

Abstract

In his 1950 film adaptation of Galdós’s 1876 novel Doña Perfecta the Mexican director Alejandro Galindo transferred the action from the imaginary Spanish city of Orbajosa to Santa Fe in Mexico. To date critics have focussed largely upon assessing the ‘Mexicanism’ of the film, coming to the conclusion that the film, like the novel, is an overblown melodrama. This article will now pay close attention to the artistic qualities of the film, specifically its use of space and place, and will seek to demonstrate how Galindo, responding as a reader of Galdós’s novel, produces a work that not only invites new ways of reading Doña Perfecta but also highlights its timelessness and universality.

Resumen

En su adaptación cinematográfica (1950) de Doña Perfecta (1876), novela galdosiana, el director mexicano Alejandro Galindo trasladó la acción desde la ciudad imaginaria de Orbajosa, en España, a Santa Fe, en México. Hasta la fecha, los críticos han centrado su atención en examinar la ‘mexicanidad’ de la película, y por lo general han llegado a la conclusión de que la película, como la novela, es un melodrama exagerado. Este artículo, al contrario, analizará las cualidades artísticas de la película, específicamente el uso del espacio y el escenario, e intentará demostrar cómo Galindo, como lector de la novela de Galdós, ha conseguido producir una obra que no sólo invita al lector a responder de nueva manera a Doña Perfecta, sino que también destaca la atemporalidad y la universalidad de la novela original.

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Bulletin of Hispanic Studies
Volume 95Number 4April 2018
Pages: 417 - 434

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Published online: 4 January 2018
Published in print: April 2018

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