El Tenorio del harem: A Surprisingly Fun, Old-School Romp?

Okay, so 'El Tenorio del harem' from way back? You know, the one with Eduardo Arozamena as that smooth talker? It's a surprising watch, maybe even a pleasant afternoon distraction if you're into old-school charm and a bit of theatrical silliness.

If you like early sound-era comedies, especially those with a hint of stage play feel, you might actually get a kick out of this. But if you're expecting anything fast-paced or deeply profound, or if silent film-era acting styles just grate on you, you'll probably find it a bit of a slog.

Eduardo Arozamena, as Don Juan, really leans into the whole 'charming rogue' bit. His constant winking at the camera felt a little much at first. But then it just became part of his whole schtick. You kind of get used to it. 😂

The entire setup, essentially Don Juan trying to navigate a house full of women who all want his attention, is pretty straightforward. It's less a harem and more just... a very popular guy at a party. A very long party. That never ends.

Lupita Tovar, playing the main love interest, has this wonderful way of looking exasperated. It's a subtle thing. She often just watches the chaos around her with this quiet eye-roll. Like, 'Oh, here we go again with these men.'

There's this one scene where Don Juan tries to hide behind a ridiculously small potted plant. It's clearly visible. Everyone can see him. Yet, the other characters *pretend* he's hidden. It's just so charmingly low-budget and silly. I smiled.

José Peña, often playing the stuffy, easily fooled father figure, gets some good physical comedy moments. His double-takes are a masterclass in 'I'm very confused but trying to maintain dignity.' There's a particular bit where he keeps losing his monocle. It happens at least three times. Each time it felt a little funnier.

The costumes are pretty grand, even for the background players. You notice the fabrics. A lot of velvet. A lot of lace. It feels like they really tried to make it look opulent, even if the sets sometimes felt a little... wobbly.

Cinematic perspective: Exploring the visual vocabulary of El Tenorio del harem (1931) through its definitive frames.

Manuel Arbó's character, a rival suitor, is so wonderfully *smarmy*. He practically oozes disdain for Don Juan. His sneer is a work of art. You almost want him to succeed, just for the pure villainy of it.

The pacing is definitely of its time. Things unfold slowly. Lots of lingering shots on characters thinking. Or, more often, characters reacting dramatically to something very small. A dropped fan, for example, becomes a whole *thing*.

There’s a small subplot about a hidden letter. Honestly, it gets dragged out way too long. It felt like they needed to pad the runtime. You can almost feel the film trying to convince you this secret note matters, but it's hard to care after the third time someone almost finds it.

Tom Kennedy and Slim Summerville are in it too, though their parts feel quite small. I kept expecting them to pop up more. Kennedy, with his usual big frame, just kind of looms in the background of a few scenes. Summerville had this one fantastic facial expression when he accidentally walks in on a romantic moment. He freezes, then slowly backs out. It was a blink-and-you-miss-it bit. But it stuck with me.

The music is… very present. It swells dramatically at every turn. A little too much, maybe. Every time Don Juan makes a grand declaration, the violins just go wild. 🎻

It’s not a film that will change your life, or even redefine a genre. It is what it is: an old film trying to entertain with broad comedy and a bit of romantic flair. You just have to meet it where it is.

For those interested in how early talkies handled comedy, or just want to see some classic performers in a lighthearted role, it’s worth a look. If you’re looking for a deep cinematic experience, maybe skip this one. But if you’re open to a bit of **charming, creaky fun**, you might just enjoy it. Don't expect The Smiling Lieutenant levels of sophistication, but it has its own simple delights.

Bits that stuck with me:

• That one scene with the *oversized hat* that keeps getting knocked off.
• The sheer number of times Don Juan hides behind curtains.
• Lupita Tovar's **patient sigh** after one of the many farcical reveals.
• The servant who is constantly tripping over his own feet, every single time he enters a room.
• A really *bright* spotlight on a portrait in a dimly lit hallway. Why that portrait? I still wonder.