The film was the highest-grossing Mexican film in its year of release at the box office. The author Carl J. Mora wrote that "the nostalgia it evoked of a simpler and more peaceful epoch could also be interpreted as a rejection by the middle class of the more socialistic aspects of the Revolution. The appearance in the film of such popular actors as Fernando Soler, the Spanish immigrant Emilio Tuero, and the fine comic actor Joaquín Pardavé were also potent factors in the movie's success. In their book
Culture and Customs of Mexico - Peter Standish and Steven M. Bell describe the film as a "political extreme", in that the "film's nostalgia for the stable hierarchies of pre-Revolutionary days arguably provided some comfort to the sectors of society that felt threatened by the Cardenas government's land redistribution and nationalization programmes". Colin Gunckel, Jan-Christopher Horak and Lisa Jarvinen described the film as a "political revista that utilized zarzuela melodies popular during the Porfiriato". Jacqueline Avila compared it to
Mexico de mis recuerdos (1944), describing them as "two noteworthy films that intertwine musical performances in the narratives and expose the social contradictions of Porfirian culture, particularly concerning women's roles". == References ==