Forgotten Faces (1952 film)

Forgotten Faces (Spanish: Rostros olvidados) is a 1952 Mexican drama film directed by Julio Bracho and starring Libertad Lamarque, Julián Soler, Alicia Caro and Ramón Gay.[1][2][3]

Forgotten Faces
Directed byJulio Bracho
Produced bySalvador Elizondo (producer)
Alfonso Patiño Gómez (executive producer)
Written byNeftali Beltrán (story and adaptation)
Julio Bracho (story and adaptation)
StarringLibertad Lamarque
Julián Soler
Alicia Caro
Ramón Gay
Music byRaúl Lavista
CinematographyAlex Phillips
Edited byJorge Bustos
Clasa Films Mundiales
Release date
  • 24 July 1952 (1952-07-24) (Mexico)
Running time
113 minutes


Rosario Velázquez (Libertad Lamarque) is a singer who has an affair with Roberto Casahonda (Julián Soler), a married man, with whom she has a daughter. After accidentally leaving her daughter behind on a train, Rosario believes the girl dead when the train crashes, making Rosario lose her sanity and leading to her being committed to a psychiatric institution. Upon leaving the institution, Rosario is reunited with the now-widowed Roberto, who reveals the truth to her: Their daughter is alive, and Roberto raised her alongside the two daughters of his marriage. Rosario tries to discover which of the three is his daughter by becoming close to them; although Rosario manages to befriend two of them easily, Claudia (Alicia Caro) is reluctant towards her. Rosario becomes especially determined to gain Claudia's respect after seeing history repeat herself when she discovers that Claudia has an affair with a married man, Manuel Lezcano (Ramón Gay).



The film's executive producer, Alfonso Patiño Gómez, stated that he viewed the combination of director Julio Bracho and leading actress Libertad Lamarque as "strange", describing them as "very heterogeneous elements", since "he is not the characteristic type to direct melodramas and she is the best interpreter of this type".[4]


Jesús Ibarra in Los Bracho: tres generaciones de cine mexicano said regarding contemporary reception of the film that "the criticism was very benevolent", and that it "meant a new box office success" for director Julio Bracho.[4] However, a retrospective review by Carlos Fuentes in Pantallas de plata described it as an "unclassifiable melodrama," "with Libertad Lamarque in her umpteenth interpretation of the mater dolorosa."[5]


  1. ^ Gallego, Rolando; Dlugi, Catalina (2020). Mujeres, cámara, acción: Empoderamiento y feminismo en el cine argentino (in Spanish). Ediciones Continente. p. 37. ISBN 978-950-754-656-3.
  2. ^ León Frías, Isaac (2019). Más allá de las lágrimas: Espacios habitables en el cine clásico de México y Argentina (in Spanish). Fondo Editorial Universidad de Lima. p. 523. ISBN 978-9972-45-486-8.
  3. ^ Arnaud, Charlotte; Courtemanche, Philippe; Fernandes, Carla; Morsch Kihn, Eva (1999). Cinémas d'Amérique latine: 1999 (in Spanish). Presses Univ. du Mirail. p. 67. ISBN 2-85816-447-9.
  4. ^ a b Ibarra, Jesús (2006). Los Bracho: tres generaciones de cine mexicano (in Spanish). UNAM. p. 137. ISBN 970-32-3074-1.
  5. ^ Fuentes, Carlos (2014). Pantallas de plata (in Spanish). Penguin Random House Grupo Editorial México. p. 88. ISBN 978-607-11-3448-6.

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