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You're Missing the Point

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261:"Bobby" (the dog, not the gangster), exacerbate by the fact that Bobby's wallet (which he picked up at the beginning) is found among his clothes, so he is arrested and put on trial. In a prolonged courtroom sequence, Cantinflas again confesses to killing "Bobby" the rabid dog, but as almost everyone in court sees him as Leonardo confessing to the murder of Bobby the con-artist, he is inevitably found guilty. Fortunately for him, the real Leonardo appears and explains about Bobby's blackmailing and the fact that he killed the extorter in self-defense. Cantinflas is fully acquitted and returns to his old antics, waiting outside Cayetano's mansion for Paz's whistle at dinnertime and then entering the kitchen to eat. 253:
house, as his overbearing jealousy has led him to think that his wife cheats on him and has plotted a scheme to expose her supposed "adultery" red-handed. Hearing his arrival, Paz hides Cantlinflas and later does the same with Bobby. Cayetano finds and catches Cantinflas, assuming he is his wife's lover, but Dolores pretends that Cantinflas is her long-estranged brother, Leonardo del Paso. Being that his father-in-law (Dolores and Leonardo's father) needed the presence of all heirs to read and distribute their inheritance, Cayetano (whose business have been slow lately) begins treating Cantinflas like a king in order to gain his trust. Naturally, Cantinflas takes advantage of the situation.
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Cantinflas's forays into the house. While waiting, another man also arrives to do the same, pulling out a cigarette and dropping his wallet in the process, which Cantinflas picks up when entering the house. Though like other times Cantinflas goes straight in to eat, this time his girlfriend has a favor to ask him: to kill the dog "Bobby" who has suffered a sudden onset of rabies and doesn't let Cayetano leave for an appointment. Seeing his hesitation, Paz is adamant: if he does not kill the dog, he does not get to eat. Cantinflas is nervous about the idea, but eventually kills the dog with a gun.
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Dolores needs "Leonardo" to conceal the blackmail and Clotilde needs him to recognize and support her children, he continues to play along with the charade. Fully aware that Cantinflas is not the real Leonardo, she still moves over to Cayetano's house with the rest of her family, who are as much freeloaders as Cantinflas is. Intending for "Leonardo" to settle down, as well as to prevent him running away from "his" family and, by extension, further delay the reading of the will, Cayetano arranges for "Leonardo" to marry Clotilde.
400:'s conventional sense of humor by presenting himself as linguistically as well as in appearance as a man of the common people, instead of using high-quality Spanish. The film's last scene is based on true events involving Mexican criminal Álvaro Chapa, which inspired Cantinflas' form of speech for this film, also known as "cantinfleada". Bustillo Oro based it largely on his experience as a 248:
Cantinflas is the boyfriend of Paz, the household maid of Cayetano Lastre. It is dinnertime and Cantinflas is waiting outside the mansion for Paz's whistle: a sign for Cantinflas to enter the kitchen to eat. This is because there is a dog in the front yard named "Bobby", and Paz's boss is unaware of
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lawyer at the Cårcel de Belén. The film was completed in only three weeks, with the only problems arising from Cantinflas's improvisation over what he considered to be a poorly written script. In a comprehensive list of the 100 best Mexican films between 1919 and 1992, which was created by 25 film
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Meanwhile, inside the house, after Cayetano leaves, his wife Dolores del Paso has given entrance to the other man: her ex-boyfriend Bobby Lechuga, a con artist who plans to blackmail her with some undated letters with a new date unless she does as he says. However, Cayetano suddenly returns to the
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Things get complicated when Clotilde Regalado, Leonardo's partner, reads a newspaper clip mentioning Leonardo and the reading of the will, and makes her presence in the company of all of the couple's sons (and then some). Cantinflas tries to tell the truth about his identity to Cayetano, but as
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Cantinflas understandably hesitates and tries as much as he can to avoid being married, and when he is about to be forced to do so by using his fingerprints, policemen arrive at the house, looking for Leonardo. Confusion arises, as Bobby Lechuga has been killed and Cantinflas admits to killing
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was the first feature film in which Mario Moreno was the lead actor. Under the name of his character in this film, Cantinflas, he achieved fame and used it as his stage name and the name of his characters in other films. In this film, he changed the film's director
112: 415: 237: 66: 468: 230:. It was the twelfth film in Cantinflas's career, considered one of his best by Mexican film critics, as well as one of Mexico's best films. 691: 541: 711: 282: 223: 88: 706: 681: 214:. It was produced by JesĂșs Grovas and directed by Juan Bustillo Oro, who also co-wrote the screenplay. The film also features 686: 637: 622: 696: 102: 701: 676: 420: 54: 497: 608:
The Supernatural Sublime: The Wondrous Ineffability of the Everyday in Films from Mexico and Spain
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critics, filmmakers and historians and published on 16 July 1994 in the magazine
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Mexican Cinema: Reflections of a Society, 1896–2004.
413:was placed tenth. In 1950, the film was remade as 297:as Clotilde Regalado, Leonardo del Paso's mistress 663: 606:RodrĂ­guez-HernĂĄndez, RaĂșl; Schaefer, Claudia. 536: 534: 532: 632:. McFarland & Co Inc, Jefferson NC 2004. 617:McFarland & Co Inc, Jefferson N.C. 2005, 601:Latin American Cinema: A Comparative History 529: 29: 630:The Mexican Filmography 1916 through 2001 345:Rafael Icardo as the dim-witted policeman 526:RodrĂ­guez-HernĂĄndez & Schaefer, p. 6 603:. University of California Press, 2016. 664: 573: 571: 569: 567: 387:The film was released under the title 372:as one of Clotilde and Leonardo's sons 610:. University of Nebraska Press, 2019. 315:as a prosecutor who tries "Leonardo". 233:The film's sets were designed by the 692:Films directed by Juan Bustillo Oro 564: 13: 321:as Bobby Lechuga "The Fox Terrier" 14: 723: 644: 546:MĂĄs de Cien años de Cine Mexicano 494:"You're Missing the Point (1940)" 593: 243: 16:1940 film by Juan Bustillo Oros 580: 520: 511: 486: 461: 436: 354:Ángel T. Sala as the inspector 336:JoaquĂ­n Coss as the Magistrate 327:as the real Leonardo del Paso. 1: 707:Spanish-language comedy films 682:Mexican black-and-white films 599:Schroeder RodrĂ­guez, Paul A. 429: 382: 360:as the deaf judge's assistant 712:Films scored by RaĂșl Lavista 687:1940s Spanish-language films 652:You're Missing the Point 378:Adolfo BernĂĄldez as an extra 7: 375:Wilfrido Moreno as an extra 153:11 September 1940 10: 728: 517:Schroeder RodrĂ­guez, p. 99 185: 177: 167: 144: 130: 120: 108: 98: 72: 62: 50: 40: 35:Theatrical release poster 28: 23: 411:You're Missing the Point 393:You're Missing the Point 389:You're Missing the Point 197:You're Missing the Point 24:You're Missing the Point 416:Vivillo desde chiquillo 264: 391:in the United States. 55:Humberto GĂłmez Landero 351:as the federal scribe 331:Conchita Gentil Arcos 309:as Cantinflas' lawyer 697:Mexican comedy films 358:Estanislao Shilinsky 702:1940s Mexican films 349:Alfredo Varela, Jr. 285:as Dolores del Paso 203:AhĂ­ estĂĄ el detalle 325:Francisco Jambrina 307:Antonio R. Frausto 279:as Cayetano Lastre 677:1940 comedy films 638:978-0-7864-6122-6 473:Cine Las Americas 398:Juan Bustillo Oro 342:as the deaf judge 340:Eduardo Arozamena 289:Dolores Camarillo 228:Dolores Camarillo 193: 192: 116:Juan Bustillo Oro 93:Dolores Camarillo 58:Juan Bustillo Oro 45:Juan Bustillo Oro 719: 587: 584: 578: 575: 562: 561: 559: 557: 548:. Archived from 538: 527: 524: 518: 515: 509: 508: 506: 504: 490: 484: 483: 481: 479: 465: 459: 458: 456: 454: 440: 424: 370:Narciso Busquets 366:as the policeman 238:Carlos Toussaint 160: 158: 139:Grovas-Oro Films 33: 21: 20: 727: 726: 722: 721: 720: 718: 717: 716: 662: 661: 647: 628:Wilt, David E. 596: 591: 590: 585: 581: 576: 565: 555: 553: 540: 539: 530: 525: 521: 516: 512: 502: 500: 492: 491: 487: 477: 475: 467: 466: 462: 452: 450: 442: 441: 437: 432: 418: 385: 277:JoaquĂ­n PardavĂ© 267: 246: 216:JoaquĂ­n PardavĂ© 170: 163: 156: 154: 147: 140: 135: 133: 115: 91: 87: 83: 81:JoaquĂ­n PardavĂ© 79: 57: 36: 17: 12: 11: 5: 725: 715: 714: 709: 704: 699: 694: 689: 684: 679: 674: 660: 659: 646: 645:External links 643: 642: 641: 626: 623:978-0786420834 613:Mora, Carl J. 611: 604: 595: 592: 589: 588: 579: 563: 552:on 1 July 2008 528: 519: 510: 485: 460: 434: 433: 431: 428: 384: 381: 380: 379: 376: 373: 367: 361: 355: 352: 346: 343: 337: 334: 328: 322: 316: 313:AgustĂ­n Isunza 310: 304: 301:Manuel Noriega 298: 292: 286: 280: 274: 266: 263: 245: 242: 191: 190: 187: 183: 182: 179: 175: 174: 171: 168: 165: 164: 162: 161: 150: 148: 145: 142: 141: 138: 136: 131: 128: 127: 122: 118: 117: 113:Mario GonzĂĄlez 110: 106: 105: 100: 99:Cinematography 96: 95: 74: 70: 69: 64: 60: 59: 52: 48: 47: 42: 38: 37: 34: 26: 25: 15: 9: 6: 4: 3: 2: 724: 713: 710: 708: 705: 703: 700: 698: 695: 693: 690: 688: 685: 683: 680: 678: 675: 673: 670: 669: 667: 658: 654: 653: 649: 648: 639: 635: 631: 627: 624: 620: 616: 612: 609: 605: 602: 598: 597: 583: 574: 572: 570: 568: 551: 547: 543: 537: 535: 533: 523: 514: 499: 495: 489: 474: 470: 464: 449: 445: 439: 435: 427: 425: 422: 417: 412: 408: 403: 399: 394: 390: 377: 374: 371: 368: 365: 362: 359: 356: 353: 350: 347: 344: 341: 338: 335: 332: 329: 326: 323: 320: 319:Antonio Bravo 317: 314: 311: 308: 305: 302: 299: 296: 293: 290: 287: 284: 283:SofĂ­a Álvarez 281: 278: 275: 273:as Cantinflas 272: 269: 268: 262: 258: 254: 250: 241: 239: 236: 231: 229: 225: 224:SofĂ­a Álvarez 221: 217: 213: 209: 205: 204: 199: 198: 188: 184: 180: 176: 172: 166: 152: 151: 149: 143: 137: 129: 126: 123: 119: 114: 111: 107: 104: 101: 97: 94: 90: 89:SofĂ­a Álvarez 86: 82: 78: 75: 71: 68: 65: 61: 56: 53: 51:Screenplay by 49: 46: 43: 39: 32: 27: 22: 19: 651: 629: 614: 607: 600: 594:Bibliography 582: 554:. Retrieved 550:the original 545: 522: 513: 501:. Retrieved 488: 476:. Retrieved 472: 463: 451:. Retrieved 447: 438: 414: 410: 406: 392: 388: 386: 303:as the Judge 271:Mario Moreno 259: 255: 251: 247: 244:Plot summary 235:art director 232: 202: 201: 196: 195: 194: 169:Running time 146:Release date 125:RaĂșl Lavista 67:JesĂșs Grovas 18: 586:Wilt, p. 49 577:Mora, p. 53 419: [ 364:Max Langler 333:as Loretita 295:Sara GarcĂ­a 220:Sara GarcĂ­a 208:comedy film 173:112 minutes 103:Jack Draper 85:Sara GarcĂ­a 63:Produced by 41:Directed by 672:1940 films 666:Categories 556:14 October 503:5 December 478:5 December 453:5 December 448:Letterboxd 430:References 383:Production 212:Cantinflas 157:1940-09-11 132:Production 77:Cantinflas 210:starring 109:Edited by 402:pro bono 186:Language 121:Music by 73:Starring 189:Spanish 178:Country 155: ( 134:company 636:  621:  291:as Paz 226:, and 181:Mexico 423:] 407:Somos 200:, or 657:IMDb 634:ISBN 619:ISBN 558:2013 505:2019 498:MUBI 480:2019 455:2019 265:Cast 655:at 668:: 566:^ 544:. 531:^ 496:. 471:. 446:. 426:. 421:es 409:, 240:. 222:, 218:, 640:. 625:. 560:. 507:. 482:. 457:. 159:)

Index


Juan Bustillo Oro
Humberto GĂłmez Landero
JesĂșs Grovas
Cantinflas
Joaquín Pardavé
Sara GarcĂ­a
Sofía Álvarez
Dolores Camarillo
Jack Draper
Mario GonzĂĄlez
RaĂșl Lavista
comedy film
Cantinflas
Joaquín Pardavé
Sara GarcĂ­a
Sofía Álvarez
Dolores Camarillo
art director
Carlos Toussaint
Mario Moreno
Joaquín Pardavé
Sofía Álvarez
Dolores Camarillo
Sara GarcĂ­a
Manuel Noriega
Antonio R. Frausto
AgustĂ­n Isunza
Antonio Bravo
Francisco Jambrina

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