The Perhaps as an outcome of the “globalization” of Shakespeare studies, the film Huapango (dir. Iván Lipkies, 2003), avowedly based on Othello, seems to be drawing attention from scholars world-wide far more quickly and productively than the only other movie unabashedly adapted from a Shakespeare play in Mexican cinema: Cantinflas’s Romeo y Julieta (dir. Miguel M. Delgado, 1943). Although in Mexico these two pictures still stand alone in deriving integrally from a Shakespeare play, they are not, of course, the sole cases in Spanish-speaking cinema, where over the years a handful of films have been made with similar premises. All of them share a simple but potentially revealing feature, however: so far, no Spanish-speaking film made from Shakespeare can be deemed a “straightforward” performance/translation of its source. Nonetheless, films that ‘reset’, ‘cite’, or somehow ‘ex/ap-propriate’ Shakespeare are not wanting in Mexico. After briefly revisiting points I have made elsewhere on the two aforementioned pictures, this mostly descriptive paper* will aim to identify the “actual” or “ghostly” “presence” of Shakespeare in three films made at diverse stages in the history of Mexican cinema: Enamorada (dir. Emilio Fernández, 1946), El charro y la dama (dir. Fernando Cortés, 1949), and Amar te duele (dir. Fernando Sariñana, 2002).
Shakespeare, William; Theatre; Adaptation; Mexican cinema