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One man. Two wives. Zero memory. Maximum chaos. Mexican comedy gold.
TMDB
67
IMDb
63
Google
95

¿Qué haremos con papá? (1966)

double-life disasterclassic farce energyabsurdist domestic nightmare

Overview

Comedy

The funny story of a man who loses his memory in an accident and can not remember who was married to another woman, then meets another woman he marries and starts another life and lives alternately with a family 15 days and 15 days with the another arguing that their travel is for work in the Crown Brewery, which is in Veracruz where he lives with one family and one in Mexico.

Flag of MXMXSpanish
Content warning
identity and self-deceptionthe fragility of domestic liesmasculine hubris and its collapsememory as both prison and escape

Standout Aspects

Acting

Arturo de Córdova's exhausted panic as the trapped bigamist.

Writing

Clockwork plotting of two households colliding inevitability.

Production

Veracruz/Mexico City split capturing 1960s regional class dynamics.

Best for:Friends: Drunken group watch with running commentary on his terrible choices.·Background: Chaotic energy for cleaning while half-watching Spanish chaos.·Rewatch: Catching every lie he tells both wives. There's SO many.
Rafael Baledón

Director

Rafael Baledón

ReleasedJul 14, 1966
Runtime1h 40m
StatusReleased

Vibe

Pacesteady
Intensitymedium
Tonelight
Feellight
Cinematográfica Grovas

Top Cast

Arturo de Córdova

Arturo de Córdova

Juan José Gómez

Marga López

Marga López

Ramona

César Costa

César Costa

Fernando Luján

Fernando Luján

Alicia Bonet

Alicia Bonet

María Elena Marqués

María Elena Marqués

Miguel Ángel Ferriz Sr.

Miguel Ángel Ferriz Sr.

Pancho Córdova

Pancho Córdova

Carlos Chávez

Carlos Chávez

Ask about ¿Qué haremos con papá?

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Deep Dive

Trivia, insights & behind the scenes

Cultural

Part of Mexico's 'comedia ranchera' golden age, when domestic farce let audiences laugh at social hypocrisy the censors wouldn't let dramas address directly.

Trivia

Arturo de Córdova was Mexico's biggest star but took this role specifically to subvert his usual suave romantic lead image — audiences LOATHED him here, which he considered a triumph.

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