Although this film distances itself from the happy, naive and joyful musical movies made in the Golden Years of Mexica cinema, it still lacks the cynicism of later productions.
The best thing of the film is Macario himself: he speaks little, but we know that behind those eyes, a lot is going on.
Roberto Gavaldon engineered a jewel out of Traven's very short book; Igancio Lopez Tarso made a classic with this quiet character, and I was amazed to find in Pina Pellicer one of the most beautiful women in Mexican movies.
It is sad to see movies like this are no longer made. Mysticism has no place in Mexican cinema right now (with a few... quite a few, and I mean quite a FEW -near to NONE- exceptions)