José Ignacio Cabrujas is remembered as one of the most innovative scriptwriters of his days; among his works we find many international successes like “La Dama De Rosa” and “La Dueña”. At present, many of his works already have a new version, for example “Natalia De Ocho A Nueve”.

Now it’s the turn of “Señora”, which will be soon broadcasted by RCTV International. In the previous version, the protagonists were Caridad Canelón, Carlos Mata and Mary Carmen Regueiro. The telenovela tells the story of two women separated by fate and when they meet up again they don’t know that they are mother and daughter. The first version is from the year 1988.

The current version will be stared by Ricardo Álamo (“Juana, La Virgen”), Cristina Dieckmann (“Gata Salvaje”) and Nohely Arteaga (“Cosita Rica”).

The telenovela also had its Mexican version, which was stared by Julieta Egurrola, Aylin Mújica, Fernando Ciangherotti and Héctor Bonilla.

Curiously, I read an article yesterday, “The Creole Telenovela Gave Up The Throne”, about the Venezuelan telenovelas, which were the most exported ones at an international level but now productions from other countries like Colombia or Brazil pass them over. The people interviewed put the blame on the wear of the rose-colored story of the poor Cinderella that suffers and suffers but in the end marries the rich guy. However, the Brazilian and Colombian telenovelas knew how to adapt themselves and they show more real and appropriate stories to the new days.

Perhaps it’s true that many people reject the Venezuelan telenovelas because those stories we saw twenty years ago are not very believable now and the public tends to believe that all the productions are like that. Like in any country – there are good and bad productions. There’s the Fonovideo factory that makes telenovelas like “Gata Salvaje”, “Rebeca” and “Secreto De Amor”, which are all alike, with thousands of plots in which finally, out of boredom, the protagonists always end up together.

After following these telenovelas and their success we come to the conclusion that they’re enjoyed by the Venezuelans but they don’t have the same reception in other countries, where stories with more content are preferred.

Then if you search a little, you find rose-colored telenovelas like “Juana La Virgen”, or others with social and political content, like “Cosita Rica”, which perhaps don’t have such an international impact but the followers of the genre appreciate such good products.