Crimen a las tres

An internationally known singer falls for a woman who captivates him completely. When a crime hits their orbit, he chooses to shoulder the consequences himself, hoping to spare her from the fallout and judgment that would follow. The choice sets the emotional core of Saslavsky's early drama, a study in loyalty, risk, and the price of protecting someone you love. The plot unfolds with a restrained elegance typical of the era, focusing on performance, motive, and the heavy silence between lines rather than loud confrontations. Behind this quiet surface lies a director testing mood, atmosphere, and moral gravity.

Directed by Luis Saslavsky, Crimen a las tres marks his feature debut. The film is now regarded as a lost work, part of the early talkie era where many titles vanished.

Box office data for Crimen a las tres is not well documented and reliable figures are scarce. As a 1930s release, its commercial performance has not been preserved in accessible records.

Critical records for Crimen a las tres are scarce, but scholars tend to read the drama as a meditation on love and sacrifice under social pressure. The central act probes guilt and loyalty without melodrama, aligning with Saslavsky's emerging style.

Although the film is lost, its status as Saslavsky's debut adds to the mystique of early Argentine cinema. The idea of a star singer bearing the fault echoes in later screen stories about fame and moral choices.