Emilio Fernandez, Mexico's greatest director of its golden age, had perhaps his biggest success with the love story Maria Candelaria. A very '40s look at both racism against Indians in Mexico and social ostracism, Maria Candelaria is the story of a beautiful woman who is forced to live in solitude because of her mother's sins, while a local thug makes her life even more miserable by lording his power over her. This is a polished, smoothly told film that reflects a director who has mastered studio storytelling at its finest, and Fernandez is aided considerably by the gorgeous black-and-white cinematography of Gabriel Figueroa. From a cinematic standpoint, Figueroa is the real star, and if he is occasionally guilty of overshadowing the film, the images are so breathtaking that it is easily forgivable. Dolores Del Rio and Pedro Armendariz, two of Mexico's biggest stars, are ideally cast as the lovers fighting for a better life in the best fashion of melodrama, and both are classic screen idols who dominate the movie. Miguel Inclan is also fun as the racist thug, sneering in the best style of movie villainy. The boat rides are so beautifully shot that they leave a lasting imprint, and the scene where the Western doctor and traditional doctor argue over conflicting methods is priceless. There is also the great climax where the torch-carrying villagers chase Maria through the cornstalks and somehow the stalks don't catch fire. Maria Candelaria is among Mexico's most famous and beloved films; it is also first-class entertainment.