The bewitching history of Yo Compro Esa Mujer

Inspired by the Count of Monte Cristo is a classic in radionovela history named Yo Compro Esa Mujer, created by Cuban grandmaster Olga Ruilópez. 

The story began life as a now long gone Cuban radionovela which likely aired at the same time as the first Corazón Salvaje radionovela. 

The 1960 Puerto Rican telenovela was the first onscreen version of the tale, which might’ve been a good thing, but its cast wasn’t as diverse as that of the absolutely fabulous Brazilian version. 

The 1965 Venezuelan telenovela was clearly insanely bad even by LatAm standards of the 1960s. Since its incredibly questionable casting decisions might’ve baffled even its own (otherwise media-illiterate) audience, it was so bad that it’s pretty much forgotten at the end of that decade. 

The 1968 Brazilian telenovela is likely the best of the 1960s versions, having an all star cast which might’ve entertained audiences back in its time of airing. It even featured a few Pardo and Afro Brazilian actors as well, which likely seemed a talent-based casting decision that was fair for its time.  

The 1968 Argentinian telenovela was a pragmatic variant of the Brazilian one, even though its own cast was likely the most homogenous of any onscreen version to date. Unfortunately, even after permanently retiring from circulation, it might’ve decayed so heavily, which is why it’s pretty much lost media. 

The 1990 Mexican telenovela remains the best known version of the story to date and is also the only easily accessible version in many countries where it has aired. The cast of that variant is not only just as fabulous as the Brazilian novela it was loosely remade from, it also starred both Eduardo Yáñez and the late Eduardo Palomo at the same time!