The authors of Mexico: An Encyclopedia of Contemporary Culture and History argue that the film parodied the comedia ranchera film genre, saying, "Given his decidedly un-macho persona, it seems appropriate and hardly coincidental that the first target of his humor was that the most manly of Mexican film genres, comedia ranchera." Michael Werner in his Concise Encyclopedia of Mexico complimented the "Eisensteinian aesthetics that Boytler incorporates" to the film. Conversely, in his books Escenas de pudor y liviandad and Los ídolos a nado: Una antología global, Carlos Monsiváis stated that Cantinflas's pelado character was incompatible with the rural setting of the film, in contrast to the city setting of his later films, saying that "[his thing] is the new urban sensibility." In his book Más allá de las lágrimas, Isaac León Frías collects Aurelio de los Reyes's criticism of the film's limited exterior filming, contrasting it with Allá en el Rancho Grande saying, "It tries to capture the return home of the revolutionaries, but the return is a pretext for the action to take place 'inside walls' on film sets. Outdoors and natural settings take second place, the opposite of Allá en el Rancho Grande. It takes refuge in the studios perhaps because another reality is more comfortably manufactured there."
