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In his 1950 film adaptation of Galdós’s 1876 novel Doña Perfecta the Mexican director Alejandro Galindo transferred the action from the imaginary Spanish city of Orbajosa to Santa Fe in Mexico. To date critics have focussed largely upon assessing the ‘Mexicanism’ of the film, coming to the conclusion that the film, like the novel, is an overblown melodrama. This article will now pay close attention to the artistic qualities of the film, specifically its use of space and place, and will seek to demonstrate how Galindo, responding as a reader of Galdós’s novel, produces a work that not only invites new ways of reading Doña Perfecta but also highlights its timelessness and universality
