Televisa is often unfairly criticized for remaking novelas, either their own or other networks'. The success of Telemundo's Pasión de Gavilanes (itself a remake) almost made it inevitable that Televisa would do a version that is quintessentially Mexican, right down to the music soundtrack and the horses and broad-brimmed sombreros of the story's three heroes. In the 9PM time slot in which this program will air, it's a guaranteed home run.
Although a number of details have changed, the story is the same basic tale so far, with the three Reyes brothers seeking revenge against those they hold responsible for the tragic death of their sister. They gain entrance to the Elizondo ranch using the same ruse, with the same assistance from Eva, the ama de llaves who has her own motives for assisting them. What is absolutely different about this series is the faster speed at which the story moves along with fine details not present in PDG. The sets look more "lived-in" and the outdoor shooting looks more authentic, along with the proverbial shots of the pool below the waterfall that Televisa directors are so fond of. When we watch Juan kneading bread dough in the bakery scenes and the title shots, it's obvious that Eduardo Yañez did a fair amount of homework learning the technique. Of course, he's only doing this completely shirtless because that will please the series' female viewers.
As in PDG, there is a fudging of the story's time period. There are motor vehicles that look completely modern, but the Reyes brothers get around on horseback. Also, you don't see a single character ever using a telephone. It's almost as though the producers were unable to decide whether this story is contemporary or should be done as a 19th century period piece. This story could work in any period because it's about universal human issues; my issue with this production is that the producers should have committed themselves to a specific era for consistency's sake.
Another flaw of this series is the attempt to provide comic relief in almost all the episodes. Columbian writers are accustomed to doing this and it worked well in PDG, but the authors of this series should be sticking to the melodrama with occasional notes of gallows humor. That has worked very well in the past and would have worked better in this series.
The top-notch cast works well, despite a huge discrepancy between the lead actors' real ages and those of their characters. Eduardo Yañez' Juan is the same protective soul as Mario Cimarro's, but a little more articulate and much more emotionally expressive. His very tender scene with Sherlyn (Libia) demonstrates Juan's emotional depth as he describes holding her as a baby and feeling both protective and afraid of her fragility. Jorge Salinas as Oscar is the same wisecracking, materialistic smart aleck as before, but he does it with a greater sense of authority. As I predicted on the message board, Pablo Montero's Franco has a stronger personality, with the added obvious bonus of giving him musical talent that is integrated into the story. I don't think we will have an Eduvina Truevas character because of this. All three of these studly and intense leading men bring their emotional authenticity to this story and appear to have excellent chemistry with each other and the three leading ladies.
Adele Noriega's Sofia is more openly rebellious and simultaneously more emotionally fragile. She wasn't my first choice for this character, but she has convinced me that she is Sofia. Nora Salinas' Sarita is less straitlaced than in PDG and while she is the least rebellious she is not a carbon copy of her mother at any time. Elizabeth Alvarez' Jimena is still flirtatious, and a major tease.
As predicted, the two villains are more melodramatic and actually much more evil. Diana Bracho is the perfect choice for Gabriela; she could instruct Bernarda Alba in the ways of cruelty. Guillermo García Cantú eats up the role of Fernando Escandon, who will have more crimes on his rap sheet than his PDG counterpart before much more time goes by. Ninel Condé provides a more complex Rosario than in PDG, with a few major secrets to be unfolded. Joaquin Cordero appears to be thoroughly enjoying himself as Gabriela's eccentric father who loves his granddaughters and takes their side in the family conflict. Finally, René Casados plays Padré Tadeo perfectly straight as the kind and just priest who desperately wants to bend the rules when the confessional is abused once again.
The obvious theme of this story is that the definitions of rich and poor are relative, and that it is certainly possible to live simultaneously in material luxury and emotional poverty. And vice versa.
Tune in when this begins airing on Univision on April 28th. It's appointment TV at its best.
Although a number of details have changed, the story is the same basic tale so far, with the three Reyes brothers seeking revenge against those they hold responsible for the tragic death of their sister. They gain entrance to the Elizondo ranch using the same ruse, with the same assistance from Eva, the ama de llaves who has her own motives for assisting them. What is absolutely different about this series is the faster speed at which the story moves along with fine details not present in PDG. The sets look more "lived-in" and the outdoor shooting looks more authentic, along with the proverbial shots of the pool below the waterfall that Televisa directors are so fond of. When we watch Juan kneading bread dough in the bakery scenes and the title shots, it's obvious that Eduardo Yañez did a fair amount of homework learning the technique. Of course, he's only doing this completely shirtless because that will please the series' female viewers.
As in PDG, there is a fudging of the story's time period. There are motor vehicles that look completely modern, but the Reyes brothers get around on horseback. Also, you don't see a single character ever using a telephone. It's almost as though the producers were unable to decide whether this story is contemporary or should be done as a 19th century period piece. This story could work in any period because it's about universal human issues; my issue with this production is that the producers should have committed themselves to a specific era for consistency's sake.
Another flaw of this series is the attempt to provide comic relief in almost all the episodes. Columbian writers are accustomed to doing this and it worked well in PDG, but the authors of this series should be sticking to the melodrama with occasional notes of gallows humor. That has worked very well in the past and would have worked better in this series.
The top-notch cast works well, despite a huge discrepancy between the lead actors' real ages and those of their characters. Eduardo Yañez' Juan is the same protective soul as Mario Cimarro's, but a little more articulate and much more emotionally expressive. His very tender scene with Sherlyn (Libia) demonstrates Juan's emotional depth as he describes holding her as a baby and feeling both protective and afraid of her fragility. Jorge Salinas as Oscar is the same wisecracking, materialistic smart aleck as before, but he does it with a greater sense of authority. As I predicted on the message board, Pablo Montero's Franco has a stronger personality, with the added obvious bonus of giving him musical talent that is integrated into the story. I don't think we will have an Eduvina Truevas character because of this. All three of these studly and intense leading men bring their emotional authenticity to this story and appear to have excellent chemistry with each other and the three leading ladies.
Adele Noriega's Sofia is more openly rebellious and simultaneously more emotionally fragile. She wasn't my first choice for this character, but she has convinced me that she is Sofia. Nora Salinas' Sarita is less straitlaced than in PDG and while she is the least rebellious she is not a carbon copy of her mother at any time. Elizabeth Alvarez' Jimena is still flirtatious, and a major tease.
As predicted, the two villains are more melodramatic and actually much more evil. Diana Bracho is the perfect choice for Gabriela; she could instruct Bernarda Alba in the ways of cruelty. Guillermo García Cantú eats up the role of Fernando Escandon, who will have more crimes on his rap sheet than his PDG counterpart before much more time goes by. Ninel Condé provides a more complex Rosario than in PDG, with a few major secrets to be unfolded. Joaquin Cordero appears to be thoroughly enjoying himself as Gabriela's eccentric father who loves his granddaughters and takes their side in the family conflict. Finally, René Casados plays Padré Tadeo perfectly straight as the kind and just priest who desperately wants to bend the rules when the confessional is abused once again.
The obvious theme of this story is that the definitions of rich and poor are relative, and that it is certainly possible to live simultaneously in material luxury and emotional poverty. And vice versa.
Tune in when this begins airing on Univision on April 28th. It's appointment TV at its best.