From Francisco Aranda's 'Luis Buñuel: A Critical Biography':
"Despite some changes of character names, La hija del engaño does not differ materially from the original Spanish version of Don Quintín el amargao, made sixteen years earlier with the same script, either in the quality of the realization or the intention. It would be curious to see them together. In both versions, Buñuel's tactic is to take the melodrama to the point of burlesque, retainint the breakneck, patently false dénouement and happy end. Arniches' flowing burlesque offered better opportunities than El gran calavera, where Buñuel in any case had to proceed with caution and dissimulation so that the producer-actor should not be aware of the transformation from bourgeois comedy into Buñuel's own special kind of guignol.
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