Dios los cría (1953)

Target of ridicule from fellow military academy, the cowardly Augustin did not want to return to their village for fear of confronting his grandfather, a revolutionary colonel. In love with the movie star Laura, Agustin flee to the capital but encounters the dangerous Humberto, another in love with the actress. Thanks to his "nine lives", he attains overcome perilous adventures and, incidentally, overcome their fears.

A low-class baker accidentally gets to know an attractive but bitter fiancée. By getting her snobby, dead-pan family to spend some time with his scumbag friends, he changes their lives, while at the time stealing the girl's heart.

Tin-Tan wants to builds an ice cream machine.

"Ni Muy Muy, Ni Tan Tan, Sim­ple­men­te, Tin Tan. Tin Tan was one of the grea­test com­de­dian-​ac­tors in the his­tory of Me­xi­can Ci­ne­ma. He be­gan his film ca­reer du­ring the early years of what be­ca­me the Gol­den Age of Me­xi­can Ci­ne­ma. Th­roughout the ma­jo­rity of his mo­vies he plays the cha­rac­ter of a pa­chu­co; the Chi­cano/Me­xi­cano in zoot suit, th­ro­wing out the ti­ri­li ph­ra­ses and words, and jam­min the jitty-​bug. With the sty­le and the slang down to a tee, he was pi­cked up in Cd. Jua­rez Chihuahua by an ac­ting trou­pe. Tou­ring ex­ten­si­vely th­rough-​out Me­xi­co with the trou­pe lan­ded him in Me­xi­co City with film con­tracts. It was in tho­se films that Tin Tan ex­po­sed the ima­ge of the pa­chu­co, which Me­xi­can Youth adop­ted. From the de­sert bor­der-​towns of Jua­rez y El Pa­so the sty­le took off in va­rious parts of the coun­try, most no­ta­bly in Me­xi­co City

In a music hall has committed a murder, the police will also find the murderer.

A poor young man is mistaken for a millionaire when he travels to the city to fulfill his dream of being a singer.

Con-artist cleans up his act to score points with a new girlfriend.

Comedic retelling of the events around the biblical character: Samson.

Three episodes. Faith: a woman is attacked. Hope: a fakir is crucified. Charity: a woman faces bureaucracy.

The English-language title of this Mexican musical was The Third Word. Singer Pedro Infante stars as a pampered young man who is sheltered by his doting aunts. Deciding that their darling boy needs an education, the ladies hire pretty schoolteacher Marga Lopez. Upon discovering that her pupil is 28 years old, Marga is momentarily nonplused, but then settles into her duties. Inevitably, romance blossoms between Pedro and Marga, much to the aunts' dismay.

A lonely, aging postal worker finds himself the victim of a cruel practical joke in this pessimistic Mexican drama. The trouble begins when crotchety postman Andre begins complaining about his young neighbor Marianna's propensity for playing loud music every time she entertains a lover. To get back at him, Marianna begins sending him anonymous love letters. The old man is intrigued by the mysterious letters and hires a cheap detective to find their author. The detective is convinced the perpetrator is Teresita, a veteran hooker who joins in on the scheme to earn a little extra cash. Andre's friend and colleague tries to warn Andre that it is all a game, but his friend is in love and will not listen. Meanwhile, Marianna attempts to woo Luis Felipe, a hard, unfeeling tabloid journalist who has her take grisly pictures of murder victims for him. Both Marianna and Andre are destined to meet an unpleasant fate at the story's end.

The charitable Emilio is a jealous barber tries to prevent at all costs the rich toting Mario mess with his girlfriend Rosita. Although Emilio help with money from neighbors, gets entangled in a misunderstanding and ends up in jail but his friends are out of charge so much trouble.

Aristocratic but penniless, the Veradada have to resort to loans Lebanese businessman Jalil, whose son Selim, suffers the scorn of Martha, the daughter of the Veradada wasteful. Being invited to the house of Don Guillermom, Jalil and his wife Suan and Selim are teased and contempt. Finally, the Lebanese family worker puts in place the family of Don Guillermo ridiculous.

A peasant who works in a mahogany camp in the Mexican jungles with his family is disgusted with the miserable living conditions imposed upon himself and his co-workers, the peasant finally spearheads a revolt against the sadistic bosses.

El rey del tomate ("The Tomato King") is a 1964 Mexican comedy-drama film, directed by Miguel M. Delgado and starring Eulalio González, Luz Márquez, and Emma Roldán.

Adult street urchin passes himself off as rich man's long-lost son.

In times of the French Intervention, a student of Nunó, author of the Mexican National Anthem, falls in love with the niece of the French Ambassador, which causes quite amusing complications.

After St. Jude appears in Esperanza's oven, she sets out to find her daughter, who died under mysterious circumstances. The journey forces Esperanza to challenge her own beliefs and face her fears in order to be reunited with her beloved daughter.

A man hired to impersonate a bankrupt business mogul who is currently on the run from creditors sets out organize a musical starring beauties from Brazil, Mexico, and Spain in this Spanish-language comedy starring popular funnyman Tin Tan. Now, as the hapless imposter attempts to finance a musical without any money, he also discovers just how difficult it can be to juggle three beautiful starlets who all have eyes for their presumably wealthy producer.

A young ice cream vendor, Roberto Terranova, witnesses a child being beaten and comes to his aid by physically overpowering the aggressor. His strength and natural ability catches the eye of a well-known boxing trainer. Considering him a diamond in the rough, he aims to put Roberto in the professional ring. But Roberto finds that his personal challenges must be overcome before he can achieve professional greatness.