THE MEXICAN FILM BULLETIN Volume 18 Number 6 (November-December 2012) The mexican film bulletin

Volume 18 Number 6

November-december 2012

Obituaries Leblanc appeared live, on television, and in films, mostly in comedy roles although he could also do drama when Fernando Cas anova dies required. In the early 1960s he would produce and direct Actor Fernando several feature films. After an auto accident in the early Casanova, who ‘80s, Leblanc retired from performing; in 1994 Leblanc appeared in received an honorary Goya Award for his long career. Mexican films over However, he returned to the screen in Torrente, el brazo seven decades, died tonto de la ley (1998—for which he won a Best Supporting on 16 November Actor Goya) and 3 sequels, in addition to a long run on the 2012 in a Mexico TV series “Cuéntame.” City hospital. Leblanc appeared in two Mexican-Spanish co- Casanova had been productions shot in Spain: Mi noche de bodas (1961), suffering from opposite Luis Aguilar, and Cómo atrapar a un don Juan prostate cancer for (aka El dinero tiene miedo , 1970), in support of Mauricio several years, and Garcés. the disease apparently spread and caused his Emilio aragón “miliki” death. Emilio Aragón Bermúdez, better-known under his Fernando Gutiérrez López was born on 24 November artistic name “Miliki,” died 1922 in Guadalajara. He originally wanted to be a of pneumonia on 17 bullfighter and spent several years as a novillero before November 2012 in Madrid. moving on to acting. El toro negro (1959) was based on Born in the province of Casanova’s experiences in the bullring. Sevilla on 4 November Casanova began appearing in films in the mid-1940s, 1929, Aragón formed a rising from bit parts to supporting roles. In 1953 he was comedy team—“Gaby, Fofó cast as the masked Western hero “El Águila Negra,” y Miliki”-- with his brothers eventually making 6 films in the series. Throughout the Gabriel and Alfonso and rest of the decade and the Sixties, Casanova had leading worked as clowns in the roles in a number of films, mostly Westerns and Circo Price (their parents rancheras . Although he was off-screen for most of the were both in show business). They worked throughout 1970s, he returned to films in the 1980s, working in action Latin America for many years before returning to Spain in pictures like El Federal de Caminos, Pistoleros famosos II, the 1970s, where they became very popular on television. and El secuestro de Camarena . He continued to appear in After the team broke up, Emilio Aragón worked with his films and videohomes until 2007. daughter and as a solo act. He wrote and directed the Fernando Casanova is survived by his widow and 3 feature Yo quiero ser torero (1987). Miliki’s last acting children. role was in Pájaros de papel (2010), directed by his son Emilio Aragón. Gaby, Fofó y Miliki appeared (without clown makeup) Tony leblanc in the Mexican film El nieto del Zorro (1947) in support of Spanish actor Tony Leblanc died of a heart attack on 24 Adalberto Martínez “Resortes.” They also starred in Tres November 2012; he was 90 bárbaros en un jeep (Cuba, 1955) and several Argentine years old. Ignacio Fernández feature films in the early 1970s. Sánchez Leblanc was born in Madrid on 7 May 1922. He made his acting debut in the lizardo díaz mid-1940s, and achieved Colombian actor Lizardo Díaz died on 8 November leading man status after a 2012 in Bogotá, after a long series of illnesses. Lizardo decade of smaller roles. Díaz Muñoz was born on 29 January 1928 and first entered the entertainment world as a musician, but in 1954 met 1 THE MEXICAN FILM BULLETIN Volume 18 Number 6 (November-December 2012) Jorge Ezequiel Ramírez and formed the comedy team “Los Guillermo Alcayde; Asst Dir: Jorge López Portillo; Film Tolimenses.” Díaz played “compadre Felipe” and Ed: Alfredo Rosas Priego; Art Dir: Ramón Rodríguez; Ramírez was Decor: Felipe Becerril; Lighting: Mariano García; Camera “compadre Emeterio,” Op: Manuel Santaella; Makeup: Carmen Palomino; rural Colombian types Music/Re-rec: Rafael Esparza; Dialog Rec: Eduardo who sang and told Arjona jokes in multiple Cast: Fernando venues (live, radio, TV, Casanova ( Raúl film) to great acclaim Zárate, el Águila for more than 40 years. Negra), Perla Eventually, the team Aguiar ( Carmen broke up (Ramírez, Maldonado ), Lalo who had problems with González alcohol, died in 2001) "Piporro" ( Pedro and Díaz forged a solo Artigas), Nora career, including a Veyrán ( Lupe "La significant career as a film actor, director, and producer. Generala" ), “Los Tolimenses” starred in two features, Y la novia dijo... Víctor Alcocer (1964) and the spy spoof Amenaza nuclear (1981, edited (Mario Moncada ), by Mexican film veteran Carlos Savage). Díaz co- Miguel Inclán produced and appeared in Un ángel de la calle (1966), a (Ciriaco ), Mexican-Colombian co-production starring Sofía Álvarez, Alejandro Parodi José Elías Moreno, and Díaz’s wife Raquel Ércole. (Lagartija ), Ricardo Fuentes ( Anselmo ), José Loza ( Armando Zárate ), Genaro de Alba ( Manuel Zárate ), Ángel Merino Alejandro parodi (Fernando Zárate ), Celia Viveros ( Nana ), José Muñoz (belated obituary) (don Francisco Maldonado ), Jesús Gómez ( man with Actor Alejandro Parodi died on 26 August 2011, but I whip ), Victorio Blanco ( servant of Moncada ), Manuel managed to miss this news (despite reading several Sánchez Navarro ( don Cosme, gold buyer ), Marina Mexican newspapers every day), and only discovered it Camacho ( La Tejanita ), Mariachi México, Mariachi while looking at Pulido, Guillermo Alvarez Bianchi ( cantinero-hotel mgr ), IMDB in conjunction Ignacio Peón ( don Ramón ), Rubén Márquez ( man in with this issue’s cantina ) review of El Águila Notes: this was the first of three Águila Negra movies Negra . made back-to-back in 1953, all directed by Ramón Peón Alejandro Parodi and starring Montaño was born in Fernando Casanova the state of Sonora in and Piporro (who, July 1929. A student although a young of acting coach Seki Sano, Parodi appeared on the stage, in man, was somewhat films, and on television in a career than spanned more than stereotyped as an 50 years. His final movie was Bodas de oro (2005). older comic relief Parodi was first nominated for an Ariel for La mujer X sidekick in this (1954), and won his first prize (for Best Juvenile period, due to his Performer) for his role in El buen ladrón (’56). He successful roles in eventually won 4 more Arieles-- Llámenme Mike (Best Ahí viene Martín Corona and El enamorado with Pedro Actor), Nocaut, El imperio de la fortuna (both Best Co- Infante). Basically imitation B-Westerns, these films were Starring Actor), and El misterio de Trinidad (Best apparently popular since the character returned for three Supporting Actor)—and was nominated two additional more movies in 1956. Although the Águila Negra wasn't times. He received the Ariel de Oro for his career in 2009. the first Mexican "Western" series (arguably, one could count the Charro Negro and El Lobo as predecessors--El Lobo even wore a mask--plus the two "Martín Corona" Fernando Casanova films pictures), it was the first to closely emulate Hollywood B- Westerns by eschewing almost all "folkloric" traits (except El Águila Negra [The Black Eagle] (Prods. Rosas for the mariachis in the musical numbers, Mexican-style Priego, 1953) Prod : Alfonso Rosas Priego; Dir-Adapt: outfits are only briefly glimpsed when some apparent Ramón Peón García; Story: Mario García Camberos, rurales pursue Raúl as he flees town). Alfonso Rosas Priego; Photo: Ezequiel Carrasco; Music : El Águila Negra is a fairly well-produced and – Antonio Díaz Conde; Corrido de El Águila Negra: Cuco directed film, but the script is curiously disjointed, doesn’t Sánchez; Prod Mgr: Mario García Camberos; Prod Chief: feature the masked hero enough, and contains some rather 2 THE MEXICAN FILM BULLETIN Volume 18 Number 6 (November-December 2012) odd aspects. There’s a bit too much music, although to be unbelievable scene, they fall in lust and spend the night fair several of the songs are tuneful—especially the together. The next morning, Lupe attempts to convince corrido of El Águila Negra, heard over the credits and later Raúl to betray Pedro, but he refuses and leaves. Pedro sung by some mariachis in shows up but before he can kick Lupe out, the cabin is a cantina. The Rosas attacked by Moncada’s men Priego family (albeit (who followed Pedro from another branch, under the town). Lupe is mortally "Rosas Films" banner) was wounded by a stray bullet, also responsible for the but the arrival of El Águila long-running "Maurico Negra drives the outlaws Rosales, el Rayo" series in away. Pedro decides to the 1950s and the "Felipe turn himself in to the law Reyes, el Justiciero" series for the killing of Lupe’s in the 1960s--both were imitation B-Western series with former lover, but vows to meet Raúl again some day. similarly-catchy theme songs for their heroes. Raúl goes back to town (not wearing a disguise or Raúl Zárate and his 3 brothers live on a ranch in anything) and thrashes Lagartija in a nicely-staged saloon northern Mexico. Their father is away, somewhere, and brawl, forcing him to confess to murdering Maldonado. writes for his oldest son Fernando to join him. While Raúl Raúl then drags the outlaw to the church, where Moncada escorts Fernando to the train station, his younger brothers and Carmen are emerging, having just been married! booze it up in the local Learning the truth, Carmen apologises for doubting Raúl cantina. Ciriaco and and drives off in a wagon, while Moncada is arrested. Anselmo pick a fight with Raúl and Pedro reunite and ride off into the sunset them, on orders of together. villainous Mario The conclusion of El Águila Negra confounds a number Moncada, and wind up of audience expectations. The standard hero-villain shooting the Zárate confrontation is mostly absent, upstaged by the fight brothers to death. between Raúl and Lagartija: Moncada merely sputters and Meanwhile, Rául tries to pull a pistol, but is subdued by several wedding serenades Carmen guests. Furthermore, Carmen’s wedding with Moncada Maldonado, whose father was not prevented at the last second, and Raúl and Carmen opposes their romance, preferring the wealthy Moncada. do not reconcile. On his way home, Raúl meets Sr. Maldonado and tries to Actually, there are a number of curious things about the convince him of his sincerity, but Moncada’s henchman male-female relationships in El Águila Negra. The female Lagartija shoots Maldonado from ambush and Raúl is characters are not sympathetic at all. Cantina singer La blamed. He escapes but is later shot by Moncada’s men Tejana is the immediate cause of the brawl that concludes and presumed dead. with the deaths of Raúl’s younger brothers. Carmen However, Raúl is rescued by recluse Pedro Artigas and instantly accepts Moncada’s assertion that Raúl murdered nursed back to health. Pedro withdrew from society after her father, and doesn’t killing a rival for the love of Lupe “La Generala,” a mala give him a chance to mujer . When Raúl recovers, he becomes the masked hero explain himself, El Águila Negra, helping the poor and downtrodden and suggesting their romance persecuting Moncada, while still attempting to clear his wasn’t that serious on her name of the murder of part (at least she’s Carmen’s father. [This is chagrined enough to admit presented in a brief series she was wrong, later). of scenes narrated by Lupe “La Generala” cheats Pedro, and never really on Pedro, which results in explains anything about a gunfight; she throws the “origin” of the Águila herself at Raúl (and sleeps Negra character.] Raúl with him), then flies into a eventually tricks Ciriaco rage when he won’t betray and Anselmo into killing each other, thus avenging the his friend; she also deaths of his two brothers. attempts to convince Pedro Meanwhile, Moncada cosies up to Carmen and she to take her back (he won’t), and subsequently shouts agrees to marry him. The villain also learns Pedro, who encouragement to the gunmen trying to kill Pedro! comes into town once a month to buy supplies, has been In addition to these negative portrayals of women paying with gold nuggets, so he summons femme fatale (and/or the consequences of falling in love with them), El Lupe “La Generala” to help swindle the old recluse, Águila Negra contains multiple examples of close male unaware of her past relationship to Pedro. Lupe arrives at partnerships: Raúl and Pedro, Lagartija and El Inquieto, Pedro’s cabin and meets Raúl. In a completely bizarre and and Ciriaco and Anselmo. In the first and third cases, 3 THE MEXICAN FILM BULLETIN Volume 18 Number 6 (November-December 2012) these two men live together as well, and Ciriaco and Cast: Fernando Casanova ( Gabino Torres ), Tere Anselmo argue and complain as if they were an old, Velázquez ( Alicia Manzano ), Álvaro Ortiz ( Güero ), Beto married couple. I’m not saying El Águila Negra has some el Boticario ( Mosco (Benito) ), Miguel Manzano ( don Pepe hidden homosexual agenda, just that it’s oddly Manzano ), Manuel Arvide ( don Alberto “Don Verdades ”), misogynistic. Manuel Dondé (municipal president ), Alejandro Parodi As mentioned above, the film looks slick and (Gato ), José [Peña] Pepet ( tailor ), Florencio Castellot professional, and director Ramón Peón adds a few nice (Rafael ); toreros —José Antonio Enríquez, Luis Ortiz, José touches (like tracking shots) that don’t draw attention to Bañuelos, Enrique Alonso; bandilleros —Ignacio Valencia, themselves but make the picture move smoothly. The Rafael Osorio, Zenón Romero, Pepe Vela; picadores — performances are solid, although Fernando Casanova Jorge Contreras, Manuel Contreras, Sixto Vázquez, doesn’t receive as much attention as one would expect (I “Cometa”; Rubén Márquez ( Juan ), Mario Sevilla ( don mean, considering he’s the hero and everything). He also Jesús ), Leonor Gómez ( Martita, food vendor ), Manuel sings a couple of songs that sound like he may have been Vergara and Regino Herrera ( meat cutters ), Armando dubbed by someone else. Also, as mentioned earlier, he Acosta ( villager ), Amado Zumaya ( butcher ) only appears in his Águila Negra costume briefly, and for Notes: films no particular reason (as “Raúl Zárate,” he could have given about bullfighters food and money to poor have a long history people, it might have even in Mexico and helped his public image). Spain, and while for The actors who stand out dramatic reasons are villains Miguel Inclán many (if not most) and Alejandro Parodi: it’s of these movies odd to see Inclán playing a portray the struggle supporting role in a B- of a torero to Western, but he makes the achieve success in most of the limited exposure the bullring (and/or he receives. El Águila Negra was a fairly early picture for concentrate on his Alejandro Parodi, who, unshaven and wearing a little hat, personal problems rather resembles outside of the Cantinflas! It should be arena), there aren’t a noted that Moncada’s lot of movies about other two henchmen also failures, at least not on the scale of Luis Spota’s novel have distinguishing “Más cornadas da el hambre” (The Hunger Gores You quirks: Anselmo is a More). Fernando Casanova, a former novillero himself, drunk who has a huge came up with the original idea for El toro negro and Luis scar across his face, and Alcoriza turned in an insightful script about bullfighting El Inquieto constantly and the people involved in the fiesta brava . [Alcoriza squints and blinks his would soon become a director himself, and his debut film eyes. in this profession, Los jóvenes (1960), features Tere The second and third Águila Negra adventures Velázquez and Miguel Manzano from El toro negro .] dispensed with most of the plot and characters from this Director Benito Alazraki had a curious career in some one, although Piporro did return as sidekick Pedro. In ways. His debut as a director came on Raíces (1954), a 1956, the Águila Negra series was resurrected for three well-received, “serious” film, but his subsequent work additional feature films, this time with the added advantage was, for the most part, blatantly commercial, including Tin of Eastmancolor, but without the presence of Piporro Tan comedies, Calderón horror movies and Westerns, and (comic relief was handled by Fernando Soto “Mantequilla” one-offs like Santo vs. los zombies , although he would and Pompín Iglesias). occasionally toss in more ambitious projects like El toro negro and Café Colón . After spending a decade in Spain, El toro negro [The Black Bull] (Prods. Matouk, Alazraki returned to Mexico and once again alternated 1959) Exec Prod : Angélica Ortiz; Prod : Antonio Matouk; dramas ( Balún canán ) and popular fare ( El rey de los Dir : Benito Alazraki; Scr : Luis Alcoriza; Orig. Idea : taxistas ). Fernando Casanova; Photo : Enrique Wallace; Music Dir : Alazraki’s work on El toro negro is rather inconsistent. Sergio Guerrero; Prod Mgr : Paco Crow; Prod Chief : Fidel The early portions of the movie feature numerous striking Pizarro; Asst Dir : Mario Llorca; Film Ed : Gloria camera angles and a variety of “strong” semi-documentary Schoemann; Art Dir : Jesús Bracho; Camera Op : Sergio images (children gather around a dead bull and drink its Véjar; Makeup : Felisa L. de Guevara; Sound Supv : James blood), which are somewhat reminiscent of Raíces . Later, L. Fields; Dialog Rec : Rodolfo Solis; Re-rec : Galdino the film’s style becomes much more conventional, Samperio (Cruci); Sound Ed : Teodulo Bustos; Union : although during the climactic bullfights there are frequent STPC cutaways to “real” people in the stands, drinking and 4 THE MEXICAN FILM BULLETIN Volume 18 Number 6 (November-December 2012) shouting, more of the sort of cinema verité feel of the asks, unable to conceive earlier sections. of a mundane existence Gabino Torres is 30 years old and still an “aspiring” where he’d work for a bullfighter. He and his erstwhile manager, El Mosco, hang living. Gabino is not an around the Mexico City unsympathetic bullring, angling for a character—in some chance to torear , but are instances, the unsuccessful. Former protagonist’s stubborn torero don Pepe, now refusal to realise he’s confined to a wheelchair not going to achieve his goal would be seen as as the result of an admirable—and this makes the conclusion of the film accident in the ring, more painful and touching. He didn’t fail miserably, he disapproves of Gabino as wasn’t gored, he didn’t display cowardice, but he was a suitor for his daughter upstaged by the younger and more talented José Antonio Alicia and is angry when she slips Gabino money for food. and his “big chance” is now gone. Alicia flirts (and more?) with her boss and with neighbour The other main characters are Alicia, El Mosco, and Juan, but loves only Gabino. don Pepe, each with a primary attribute or two which Young bullfighter José Antonio tells Gabino that he’s informs the plot, but only Alicia is developed in particular going to participate in a charity bullfight during a small detail. El Mosco’s relationship with Gabino isn’t clear: town feria . Gabino visits the municipal president and were they childhood friends? What happened to his leg offers to appear for free, (he limps)? Where did he develop his shady, smooth- bringing his own team of talking skills? Does he work or live hand-to-mouth like assistants, paying for posters, Gabino? Don Pepe serves two functions, as Alicia’s etc., but is rejected because father (who opposes her relationship with Gabino), and as he’s not well-known. the disabled ex-torero (who illustrates how fame as a However, Gabino and El bullfighter can translate into a poverty-stricken, Mosco spin a tale for the town handicapped post-bullring life). priest, claiming Gabino is Alicia is an interesting character. As noted earlier, she fulfilling a sacred vow to his utilises her sex appeal to earn money and favours from late mother, and are given the job. men, but loves Gabino, who has no money at all. The Gabino and his friends scrimp, save and borrow enough sexual chemistry between money to participate in the feria . Alicia asks her father to the couple is depicted make sure bullfight journalist don Alberto attends the rather frankly (Gabino bullfight, hoping for good publicity for Gabino. During takes money Alicia gave the bullfight, Gabino performs adequately but does not him for food, and instead inspire the crowd; don Antonio tells Alicia that Gabino is takes her to a hotel), but brave but lacks the special quality that would make him a the romantic attraction successful torero . In contrast, seems to be rather one- José Antonio is applauded by the sided, with Gabino spectators and the journalist, and focused on his “career,” to the exclusion of all else. is awarded the ears and tail of the Although Alicia would like Gabino to drop his fantasy of bull he kills, the highest honour a fame and fortune, she cares enough for him to assist him torero can achieve. any way she can, including convincing her irritated father Gabino, Alicia, her father, and to contact his acquaintance, bullfight journalist don the others board a bus to return to Antonio. As José Antonio is performing in the bullring, the city. Gabino’s dream of Gabino jealously looks on, while Alicia is clearly becoming a bullfighter has been definitively shattered. perturbed by the crowd’s (and don Antonio’s) adulation of El toro negro depicts both the bullfight the younger torero . establishment and Gabino as flawed. There are too many The performances in El toro negro are all fine, and the novilleros and the impresarios can pick and choose whom production values are satisfactory. Much of the film was they want for the limited number of bullfights, effectively shot on location. It’s difficult to determine how much of freezing out everyone else. It’s not a merit-based system, the bullring footage is actually Fernando Casanova, but the but an arbitrary (and possibly corrupt, although the film doubling is not obvious. The bullfight sequences are doesn’t address that) process. However, Gabino’s reasons actually too long, since they aren’t especially dramatic for wanting to be a bullfighter are relatively specious (he (Gabino is knocked down by his bull, but not gored), in wants fame); he refuses to face reality, so he remains stuck either a bad or good way. It’s sort of pointless to show the in limbo, neither progressing in his career nor moving on picadores and the bandilleros going through the motions, with his life. In one scene, Alicia suggests Gabino could since the protagonist of the film—and thus the character give up the idea of becoming a torero and they could get around whom the plot revolves—is the torero . Bullfight married and live together—“on what you earn?” Gabino 5 THE MEXICAN FILM BULLETIN Volume 18 Number 6 (November-December 2012) aficionados may disagree, but this section could have been having an affair with Ramiro’s estranged wife, singer trimmed significantly. Estela. Ramiro beats Estela severely, believing she’s been giving Javier inside information about his illegal activities El Federal de (well, she was). Javier and his fellow officers finally caminos [The Federal corner Ramiro in the middle of a drug deal; Ramiro tries to Highway Patrolman] flee, but is killed in a crash (Cin. Virgo, 1983) Prod : after a high-speed car chase. René Agrasánchez L.; El Federal de caminos Assoc Prod : J. David doesn’t elaborate on the Agrasánchez L.; Dir : characters of Javier, Estela, or Fernando Durán; Scr : Ramiro: Javier doesn’t express Carlos Valdemar; Orig. much emotion or drive, either in his quest to avenge his Idea : Reynaldo Martínez; brother or to protect/avenge Photo : Armando Estela from Ramiro; Estela Castillón; Music : Gustavo doesn’t have much Pimentel; Prod Mgr : René personality at all (although at Agrasánchez L.; Film Ed : Enrique Murillo; Sound : one point she tells Ramiro Ricardo Saldívar; Union : STIC she only married him for his Cast: Álvaro Zermeño ( Javier Garza ), Rosenda Bernal money); and Ramiro is a (Estela Cuevas ), Fernando Casanova ( Ramiro González ), stereotypical narcotraficante . Juan Valentín ( singer ), Los Broncos de Reynosa, Los The script throws in some other people, such as crooked Sepultureros, Gerardo Zepeda ( Trampas ), Toño Infante judicial Roque, henchmen Trampas and Chato, South (García ), Federico González ( Wally ), Elizabeth Dupeyrón American drug dealer Alonso, and—most notably— (Alicia de Garza ), Fabián del Valle ( Chato ), José Luis nightclub owner Wally, who plays both ends against the Fernández ( Pecas ), Nelson Velázquez ( Paco Pichardo ), middle (this is one of actor Federico González’s most Mariana Georges, Ramón Blanco, Carlos Poulliot substantial screen roles), but no one does much beyond the (Alonso ), Claudio Sorel ( Cmdte. Roque ), José Luis Llamas, usual action-film stuff. Worse, the plot is simplistic and Jesús Gómez ( man in restaurant ), Marcelo Villamil ( drug makes almost no attempt to present something different or buyer ), Armando Duarte ( Cmdte. Aguilar ) even slightly complex: it’s just a series of unmotivated, Notes: the 1980s was the coincidental confrontations between Javier and Ramiro’s Golden Age of the men, interspersed with the usual time-wasting musical contemporary Mexican action numbers. film, with the Almada On the positive side, the production values aren’t bad. brothers, Valentín Trujillo, In one scene, Javier is driving after one of Ramiro’s men, Álvaro Zermeño, Miguel whose car plunges off a high cliff, exploding into flames Ángel Rodríguez, and others (for no reason) battling narcotraficantes and halfway down. other evil-doers in scores of The location movies (even Antonio Aguilar stepped away from shooting is rancheras to make modern-dress pictures like Lamberto satisfactory, but Quintero ). Many of these films were well-made and the score is odd entertaining, if not as spectacular as higher-budget (far too much Hollywood efforts. El Federal de Caminos , based on a whakka-chikka popular corrido , is an adequate but not outstanding music). The example of the genre, hampered by a cursory script and too performances are adequate within the range afforded them little attention to character development. by the script. Javier Garza is a Federal Highway Patrolman who A couple of trivia notes: (a) El Federal de caminos was transfers from Chiapas back made during a period when childrens’ dialogue was to his home state of routinely dubbed, obviously and annoyingly, by adults Tamaulipas. His brother speaking in “childish tones.” (b) Fernando Casanova has Gerardo is also a federal de two scenes seemingly designed to show how physically fit caminos and is married to he was: in one, he emerges from a swimming pool and Alicia; they have 4 young displays an impressive barrel chest and broad shoulders; in sons and Alicia is pregnant another, he vigorously smacks a tennis ball. (c) A sequel, once again. However, La muerte del Federal de Caminos , was produced in 1985, Gerardo and his partner are shot to death by Trampas and with Zermeño, Bernal, and Casanova returning. Chato, henchmen of smuggler Ramiro González. Javier and his partner García clash with Ramiro’s gang; the gangster also dislikes Javier because the patrolman is 6 THE MEXICAN FILM BULLETIN Volume 18 Number 6 (November-December 2012) Dr. Devoto’s son Raúl is a police agent working on the recently cable-cast case. He cultivates Irene Heredia, a marijuana user who Rarities operates a newsstand nearby, and who has connections with the Green Monsters.

Irene receives some pills Marijuana (El Monstruo Verde) * [Marijuana, to give to the cabaretera : The Green Monster] (Prods. Duquesa Olga, 1936) Prod : she thinks they are drugs Duquesa Olga to alleviate the (Eva Limiñana), withdrawal symptoms, José Bohr; Dir- but they are actually Adapt : José Bohr; poison. Later, Irene tips Dialog-Story : off Raúl to the location of Xavier Dávila; the drug gang boss, an apartment in Puebla. But it’s a trap, Photo : Alex and Raúl is abducted by the Green Monsters, thanks to the Phillips; Music treachery of his family’s chauffeur Antonio, who pretends Arr : Max Urban; to have been injured in the assault. Songs : José Bohr; El Indio, leader of the Green Monsters, has Dr. Bueno Prod Mgr : Ricardo Beltri; Asst Dir : Roberto Gavaldón; addict Raúl to drugs, and then forces the young man to join Film Ed : José Marino; Art Dir : Jorge Fernández; Police his smuggling gang by Technical Adv : Teddy González; Sound : B.J. Kroger threatening to do the *re-release title La caravana de la muerte ; shown in NY same to Irene. When in 1938 as El traidor El Indio is shot to Cast : José Bohr ( Raúl Devoto; “Daniel Offenbach” ), death in a Lupita Tovar ( Irene Heredia ), Barry Norton ( Carlos ), confrontation with René Cardona ( Antonio Pedroza ), Ángel Sala another group of (Domínguez ), Alberto Marti ( Dr. Luis Devoto ), Pilar criminals, Raúl is Fernández (Sra. Devoto ), Sara García ( Petra ), Maniel promoted to leader of Noriega ( Dr. Bueno ), Emilio Fernández ( El Indio ), Carlos the Green Monster Baz ( El Sapo ), Carmelita Bohr ( Rocío ), Virginia Ramsey organisation. On a flight carrying contraband, Raúl goes (Rosa de Oriente ), Arturo Manrique ( Juan Lee ), Roberto berserk and causes the plane to crash. He is mortally Cantú ( Dr. Montes ), Billy De Negri [Guillermo Cantú injured and dies in Irene’s arms. Robert] ( El Nene ), Clifford Carr ( U.S. gangster ), Max Although José Bohr’s Raúl is the protagonist of Langler ( waiter at Juan Lee’s ), Consuelo Segarra ( elderly Marihuana , much of the film focuses on other characters patient ), David Valle González ( policeman ), Juan García and their own sub-plots and actions. For example, (loud drunk ), Víctor Junco Carlos—blackmailed into working for the Green Notes : Marijuana is an entertaining but odd jumble of a Monsters—loves Rocío, the daughter of Chinese film, with at least one major plot hole and numerous other restauranteur Juan Lee and “what th--?!” moments. Unlike some of the independent his Caucasian wife Rosa. Hollywood drug-scare movies of the era (including Dwain After Carlos is shot to death Esper’s Marihuana and Tell Your Children —aka Reefer protecting Juan from gangster Madness —both also 1936), Marihuana is primarily a El Sapo—Juan was working crime movie rather than a cautionary tale about the dangers with the authorities to combat of drugs. the drug trade--Rocío Marihuana begins with a montage of people smoking commits suicide. dope and newspaper headlines (in English and Spanish), Considerable footage is also revealing the discovery of marijuana growing in Los devoted to “El Nene,” a young newsboy who runs errands Angeles, “Central Park,” for Raúl and whose dog “Duquesa” (could this be an in- Puebla, Mexico City, and joke referencing producer “Duquesa Olga”?) is also other locations. Dr. Luis pressed into service to carry messages. Comic relief is Devoto runs a sanitarium handled by Sara García as Petra, the Devoto’s hard-of- where he treats drug hearing servant, and René Cardona gets some attention as addiction. A cabaret dancer the treacherous chauffeur Antonio. is brought to his clinic: the The biggest plot hole in Marihuana occurs after the police gave her marijuana death of El Indio (which takes place in a scene that was so spiked with a chemical that dark I couldn’t tell what was going on), and Raúl— made her ill, in an attempt to get her to reveal the secrets incomprehensibly—is elevated to leadership of the Green of the “Green Monster” drug gang. Now she is undergoing Monster gang. Maybe he was chosen because he was the withdrawal, but Devoto—in conjunction with policemen only other member of the group who possessed reasonable León and Domínguez—refuses to give her any more dope. intelligence, but it doesn’t explain why he accepted the job. He was involuntarily addicted to drugs and 7 THE MEXICAN FILM BULLETIN Volume 18 Number 6 (November-December 2012) blackmailed into cooperating with the gang, so all he has This consists of tying him to a chair, turning the lights off to do is surrender to the police! His own father runs a and on, and weighing him (?!). Regardless, it works, and drug-treatment facility, so kicking the habit shouldn’t be Antonio confesses to his too difficult. Why would Raúl, who was previously just as complicity in the gung-ho about smashing abduction of Raúl. But the Green Monsters as for whatever reason his father and inspector (hoping to catch the Domínguez, assume the whole gang?), the leadership role and keep authorities—with Dr. the gang’s criminal Devoto’s agreement— enterprise operating?! decide not to rescue There is a slight hint Raúl right away. Raúl doesn’t know this, of course, and that, once Raúl has his decision to accept the leadership role of the Green assumed the role, the Monsters, and his subsequent suicidal breakdown are gang diversifies into smuggling other things (like jewels), unmotivated by what one might expect to the the “usual” but this isn’t clearly stated. excuses (rage at being abandoned by the authorities and his There are various other strange bits in the film. In a family, etc.). very early scene at Irene’s newsstand, Irene and Antonio Despite (or, in some cases, because of) the incongruities (who haven’t even been identified yet) converse with and illogical aspects, Marihuana remains an entertaining “Daniel Offenbach,” apparently a German tourist (played film. Arturo Manrique is a ludicrous Asian stereotype as by José Bohr), who makes a joke—in German-accented Juan Lee, but his character’s banter with his wife is Spanish—while flirting with Irene. Is this supposed to be amusing. Earlier, there is an ironic running gag featuring Raúl Devoto (whom we also haven’t been introduced to, newsboy El Nene: Raúl gives him the address of the yet) in disguise? Why? Puebla residence of the Green Monster leader, but warns Irene’s role isn’t clearly defined. Raúl uses her to get the boy not to reveal it until after 6pm (because Raúl wants information about the gang; she’s used by the Green the glory of capturing the criminal single-handed). Raúl Monsters to lure Raúl into a vanishes, and El Nene keeps asking “what time is it?”, trap, and to murder the refusing to divulge his secret until the proper time—and cabaretera in Dr. Devoto’s then discovers he’s lost the slip of paper anyway! In clinic; she smokes another scene, Irene professes her undying love for the marijuana but isn’t an badly-wounded Raúl, only to have the rest of the Green “addict” (or El Indio’s Monster gang—who entered the room, unseen--burst out threat to make her one laughing at her impassioned overtures. would be useless). She The performances are adequate, with José Bohr professes her love for Raúl indulging himself a few times (the “Daniel Offenbach” and tries to get him kick the drug habit later in the movie, disguise, his final insane rant in the airplane, etc.) and only but never goes for help while he’s being held prisoner singing one, extemporaneous song (to the hearing- (perhaps she’s a prisoner too, but it’s vague). impaired Petra in her kitchen). Billy De Negri is The title of the film and the opening sequence refer to reasonably naturalistic as El Nene, Lupita Tovar is very marihuana, but Raúl becomes addicted to something lovely as Irene, and everyone else acquits themselves else—heroin? opium?—first administered by Dr. Bueno in professionally. Production values are adequate, although a drink, and later injected. In one sequence, Raúl and Dr. the rough condition of the existing print shown on Cine Bueno visit a sleazy hotel in Nostalgia—a re-release version entitled La caravana de la Calexico (in California, muerte (which does not appear to have been significantly across the border from cut, a pleasant surprise)—makes it difficult to adequately Mexicali) and pick up some assess the photography, sets, etc. drugs from the manager (Cliff Carr, the preeminent gringo of 1930s-40s Mexican cinema): it’s difficult to see what they have, but the parcel is quite small and that amount of marijuana would presumably have been worth very little. Later, the hotel manager has apparently become a big-time gangster, and we see him trading tubes full of white powder to Raúl for pearls and diamonds (which would make this an unusual example of a movie depicting drugs being smuggled into Mexico from the USA). Late in the film, suspicion finally falls on chauffeur Antonio, and he’s given the third-degree by the police. 8 THE MEXICAN FILM BULLETIN Volume 18 Number 6 (November-December 2012) Maravilla del toreo [Marvel of Bullfighting] screen story by Ortiz, Maravilla del toreo . The script is (CLASA Films, 1942) Dir- entirely fictional, retaining only Cintrón's Peruvian origins Scr : Raphael J. Sevilla; and her bullfighting talent from real life. Adapt-Dialogue : Carlos Maravilla del toreo is an entertaining and intriguing Martínez Baena; Story : Pepe film, but not a perfect one. It's far too long (nearly two Ortiz; Photo : Ross Fisher, hours): while a fair amount of actual and re-created Raúl Martínez Solares, bullfight footage is included, this is quite interesting, but Álvaro González, Jack the same cannot be said for the excessive number of songs Draper, Víctor Herrera; and dances in the picture. The most egregious example Music Dir : Fausto Prieto occurs when the protagonists travel to Spain and attend a Rio; Prod Chief : Ricardo party at the home of another torero : there is a nearly 16- Beltri, Luis Sánchez Tello; minute-long sequence that features one musical Asst Dir : Ignacio Villareal; performance after another, with little or no dialogue/plot. Film Ed : Fernando Martínez This is absolutely unconscionable and pointless. Álvarez; Art Dir : Luis The other major problem with Maravilla del toreo is Moya; Peruvian Decor : technical. Although the print shown on the Cine Nostalgia Julián Pezet; Conchita channel was (as is too often the case) in very poor shape, Cintrón's Costumes : Chardy; Choreog : Lettie Carroll; washed-out and damaged, there are also a number of early Sound : Consuelo Rodríguez, Edward H. Randall, José B. sequences which appear to have been shot by a camera Carles, Jesús González G. with a smudged lens. This is annoying and difficult to Cast : Conchita Cintrón ( Rosita de Peralta ), Pepe Ortiz accept in a professional motion picture. Although the (Pepe Morera ), Pituka de Foronda ( Fernanda ), Florencio film's action occurs in Peru, Mexico, and Spain, it does Castelló ( Curro ), Rafael Icardo ( Rerre ), Manuel Arvide not appear any footage was actually shot in Peru or Spain, (don Pedro ), Alejandro Cobo ( Arturo ), Rafael Banquels but it was apparently deemed to expensive to do re-takes, [sic] ( "Chiclanero" (Manolo) ), Tony Díaz ( Ricardo ), even on fairly simple dialogue scenes (the more Enrique García Álvarez ( don Roberto ), Francisco Jambrina complicated scenes involving (Mairena ), Salvador Quiroz ( don Nacho ), Luis Berrondo Cintrón, Ortiz, and live bulls (Aunt María ), Manolo Noriega ( eye doctor ), Roberto would have been more Corell ( Ramírez ), Néstor Mesta Chaires, "Los Gitanillos," difficult to repeat). El Niño del Brillante, Francisco Millet ( guitarist ), José Rosita de Peralta lives on Pulido ( guest at party in Peru ), Roberto Cañedo ( man in a ranch in Peru, and is an Spain ), Marcelo Chávez, Alfonso Jiménez "Kilómetro" expert horsewoman. Her Notes: Conchita Cintrón father, don Pedro, forbids her was the most famous woman to come in contact with the bullfighter of the late 1930s bulls he raises, fearing for her and 1940s, appearing around life, and orders Curro, a Spaniard who works on the ranch, the world to great acclaim. to cease encouraging her. When Mexican torero Pepe She retired before the age of Moreda visits the ranch, he shows Rosita the basics of 30, married, and spent the bullfighting and she decides to make this her career, over rest of her life (she died in her father's objections. Using money she won in a national 2009) in leisurely retirement, riding competition, Rosita departs for Mexico; don Pedro writing her memoirs and raising dogs and horses. Cintrón was born in Peru in 1922 to a Puerto Rican father and an American mother; she became an expert horsewoman and trained as a bullfighter from an early age. She performed both as a rejoneadora (a mounted bullfighter, the same profession Gastón Santos exercised when he wasn't appearing in movies) and as a dismounted matadora . Cintrón "doubled" for Gloria Marín (courtesy of stock acquiesces, but sends his sister and Curro along to watch footage) in Seda, sangre y sol (1941) which coincidentally over his daughter. In Mexico, Rosita is reunited with featured Pepe Ortiz. Ortiz was a retired bullfighter who Pepe, and is a success during a tienta at his ranch (a tienta was also a singer, actor, rancher, and writer, and had is the "testing" of young bulls to determine if they have the appeared in a number of previous films (he was even temperament for the bullring). She's signed to a contract married to actress Lupita Gallardo). In 1942, Cintrón was by impresario don Nacho; after a tour of the provinces, she convinced to take the leading role in a film based on a debuts in Mexico City and becomes the darling of the aficionados . 9 THE MEXICAN FILM BULLETIN Volume 18 Number 6 (November-December 2012) Pepe is married to Fernanda: he's unaware she's having conflict, Pepe doesn't even seem to notice it, Fernanda and an affair with his manager, Arturo, but nonetheless finds Rosita get along well, Fernanda isn't demonised (Arturo is, himself attracted to Rosita. While watching Rosita in the to some extent), and for all that it really matters, Pepe bullring, Pepe suffers an attack of temporary blindness, could have been single or a widower for the whole movie caused by an old injury, but shrugs it off. (except, presumably Rosita doesn't give in to her romantic Pepe and Rosita are contracted to appear in Spain, and feelings for Pepe because he's a married man, though it's are accompanied by their retinue, including Curro, not really clear if she loves him "that way" at all). [There Fernanda, and Arturo. At a party hosted by fellow torero is a suggestion in García Riera's Historia documental... "Chiclanero"--who is clearly smitten with Rosita--Pepe is that Cintrón didn't want to do "love scenes" on film, and about to declare his love the script may have been written to accomodate her in this for Rosita but she refuses regard.] to let him speak. Later, Conchita Cintrón is Pepe sees an eye remarkably natural on screen. specialist and is warned She's not a great actress, but not to go back into the she's perfectly adequate bullring: another goring throughout. She's also quite or even "strong emotions" attractive: although she has a could affect his eyesight bit too much chin to be once more, perhaps classically beautiful, she's permanently. Keeping certainly more than acceptable this a secret from everyone except his aide Rerre, Pepe by film-star standards of attractiveness (which are tries to bow out of the corrida in Madrid in which Rosita generally pretty high), and her athletic build and will make her Spanish debut. She refuses to appear movements (in and out of the bullring) are unusual for an without him, so he finally agrees. Rosita is a huge success, actress of the period. Pepe Ortiz is also fine, but since he'd but Pepe goes blind in the ring and is knocked down by the been in movies since the early Thirties, it's not a surprise. bull. He isn't injured by the horns, but when he regains The supporting cast is also good, although Pituka de consciousness, he is still blind. Foronda and Alejandro Cobo Meanwhile, Fernanda and Arturo loot Pepe's bank are given short shrift due to the account and decide to run off together, but are involved in negligible nature of their sub- an automobile accident and are both killed. Rosita plot, as noted above. Florencio resumes her tour of Spain but returns to Pepe, feeling both Castelló plays his standard, guilty for compelling him to torear (and thus being stereotypical sevillano indirectly responsible for his blindess) and loving him. character and is his usual Pepe, not wishing to be a burden and unsure if a new engaging self, although his operation can restore his sight, departs for Mexico without allegedly "humourous" byplay Rosita. with Rafael Icardo's character gets old rather quickly. The aforementioned technical issues aside, Maravilla del toreo is a well-produced motion picture. Raphael Sevilla mixes actual locations, studio sets, and stock footage effectively, and there are sufficient extras, decent sets and costumes, etc., to make the film look substantial and slick. There is also a curious but interesting attempt to depict Peru, Mexico, and Spain's cultural differences: there is an elaborate recreation of a Peruvian party, with lingering shots of different types of local food, discussion of food and drink, "folkloric" music and dance, and so on. The party at Chiclanero's house in Madrid isn't as effective, since it's held in a fancy mansion and the music is stereotypical flamenco and other overly-familiar "Spanish" themes. Of special interest in Maravilla del toreo are the scenes The conclusion of Maravilla del toreo is pretty of Cintrón in the bullring: this is documentary footage (i.e., shocking, especially for the time. Not only is there no not re-staged for the film) but is much clearer and better- happy ending (i.e., Pepe miraculously regaining his integrated than the usual such shots in bullfight pictures. eyesight), but there isn't even a bittersweet ending (for It's possible, even probable, that a professional crew was example, Pepe and Rosita getting married despite his sent to film Cintrón's actual performances. There was infirmity), or tragic ending (Pepe dying nobly in the ring always the risk that she'd be seriously injured or even or something). Actually, Maravilla del toreo isn't a very killed in the ring, but the verisimilitude of this footage melodramatic movie at all. The sub-plot of Fernanda and shines through, something that wouldn't happen if it had Arturo's affair is hardly central to the plot--there's no been faked. Obviously, the tienta sequences and other 10 THE MEXICAN FILM BULLETIN Volume 18 Number 6 (November-December 2012) such scenes of Rosita "training" (as well as her riding, both feature film production to his resumé in 1954 with Raíces for pleasure and in competition) were created specifically and Torero! in 1956, utilising the services of his Tele- for the movie, but even here it is eminently clear that it is Revista collaborators. In 1958 he produced three really her in close proximity to bulls. [In contrast, since additional “features” consisting of comic bits from Tele- Pepe Ortiz was retired, the footage of him in actual Revista and some newly-shot footage: Chistelandia, Nueva bullfights must have been archival, and his final Chistelandia, and Vuelve Chistelandia . Although Emilio confrontation in which he goes blind and is tossed by the García Riera indicates these three films were not released bull is a combination of newly-shot closeups and in Mexico City, they did documentary footage of someone being hit by a bull.] receive theatrical Maravilla del toreo also distribution elsewhere. includes shots of bulls actually It’s difficult to being killed by Cintrón. This ascertain how much new is not unprecedented, but it is material was created for slightly rare for a bullfight Chistelandia , but the film to actually show the opening sequence was matador plunging the sword certainly among this into the animal--more footage. Pancho Córdova frequently, the film cuts away speaks directly to the audience, informing us we’re going before the actual thrust and to see an unusual “film” (using the pretentious English then a shot of the dead bull is term, which is translated via sub-title to the Spanish shown. In this picture, one película ) that doesn’t use the common formats like sequence depicts Cintrón stabbing the bull, after which the “widescreen,” animal stands still briefly, then collapses to the ground, all “Cinemascope,” in medium-shot. It's conceivable some might find this “VistaVision,” or offensive, although the bull wasn't killed for the film (since “television.” The screen the footage is of an actual corrida de toros ). aspect ratio changes as Overall, a fascinating movie for its glimpse of the Córdova mentions each of career of a legendary figure in bullfighting, and a relatively these, and he contorts his decent movie on more objective (dramatic, filmic) body to fit the new grounds. dimensions. Chistelandia is presented in a “thousand Chistelandia [Joke-land] (Prods. Barbachano Ponce, shades of gray,” he adds. In 1958) Prod : Manuel another fourth-wall-breaking Barbachano Ponce; moment, as he mentions the Dir : Manuel “realistic” settings of the Barbachano Ponce, movie, we get a reverse shot Carlos Velo Cobelas, of Córdova, a young woman, J. M. García Ascot, and the furniture in the Fernando Marcos; “office” where they’re Photo : Ramón Muñoz, standing, revealing the falsity Alejandro Velázquez, of the costumes and sets Ernesto Martínez, Emilio González, José Torre, Marcelo (their clothes are front-side López, Roberto Sánchez U., F. Vega Gil, Luis Morales; only, the “chair” is a mockup, General Mgr : Jorge Barbachano Ponce; Prod Mgr : etc.). He also tells the viewer Federico Amerigo; Prod Chief : Evaristo Mares, Carlos that instead of one, two, Rincón Gallardo, Roberto Jaramillo; Film Ed : Luis three, or even four different Sobreya S.; Sound : Adolfo de la Riva; Sound Op : Rodofo stories, this film will feature over 100! [sic] Quintero; Union : STIC This clever and inventive sequence utilises film form Cast : Pancho Córdova, Humberto Cahuich, “Cuco for humour, but most of the rest of the picture eschews this Pelucho” [José Vidal García], “Silvio Pinole,” Carlos method—with the exception of a bit of speeded-up Robles Gil, Giovanni Korporaal, Manuel Vergara footage, a comedy staple—in favour of predictable comic “Manver,” Guillermo Álvarez Bianchi situations. Many of these scenes last less than a minute, Notes : Manuel Barbachano Ponce, born in the Yucatán and are visualisations of very old jokes whose punch lines in 1925, studied at Columbia University before returning can be predicted a mile away (although, to be fair, a to Mexico and entering the film industry in the early 1950s number are still actually rather amusing). Like other as a producer of newsreels like Tele-Revista . This weekly scattershot comedies—Hellzapoppin’, “Laugh-In,” and so series contained the usual newsreel fodder (actual news, forth—the theory seems to be “throw out one hundred sporting events, beauty pageants, etc.) and was also spiced jokes at a rapid pace: the audience will laugh at a certain up with brief bits of humour. Barbachano Ponce added 11 THE MEXICAN FILM BULLETIN Volume 18 Number 6 (November-December 2012) percentage of them and the bad ones will pass so quickly from the fact that it’s in Spanish) than other, more that they’ll be forgotten.” “localised” films. There are a number of recurring topics and gag The majority of the footage in Chistelandia was shot segments in silent and post-dubbed (the introductory sequence may Chistelandia . Perhaps have had sync-sound), either with dialogue or voice-over the most notable is the narration. Some actuality footage (beauty pageants, body- five-episode film- building contests) is turned into humour via funny within-a-film entitled narration. The film looks odd: the location shooting, use “En el pérjido oeste,” of unfamiliar performers for most roles (many of these a spoof of B- people were probably non-actors—certainly some of them westerns/serials were even employees of Tele-Revista pressed into service starring Pancho in front of the camera), non-sync sound, and so on Córdova as “Flecos contribute to the overall strange atmosphere of the picture, Bill.” This segment which doesn’t resemble a traditional Mexican feature film begins with a parody of the MGM logo: instead of a lion, at all. it’s Córdova wearing a wig and whiskers and growling at Reasonably entertaining but perhaps a bit too long and the camera; instead of repetitive. “Metro Goldwyn Mayer,” the company is Nueva Chistelandia [New Joke-Land] (Prods. listed as “Centímetro Barbachano Ponce, 1958) Prod : Manuel Barbachano Gómez Majer,” and Ponce; Dir : Manuel Barbachano Ponce, Carlos Velo “Ars Gratia Artis” (Art Cobelas, J. M. for Art’s Sake) becomes García Ascot, “Churros Gratia Artis” Fernando Marcos; (Cheap Films for Art’s Photo : Ramón Sake). These episodes Muñoz, Alejandro have some sound effects and post-dubbed dialogue, but are Velázquez, mostly narrated by Eulalio González “Piporro.” Ernesto Martínez, Other repeated sections include “Así son ellas/ellos” Emilio González, (jokes about women and men), “Pepito” (a mischievous José Torre, little boy, dubbed with an annoying faux -child’s voice), Marcelo López, “Esos ávaros” (jokes about tightwad norteños ), “Don Roberto Sánchez U., F. Vega Gil, Luis Morales; General Humberto” (Humberto Cahuich, playing a dim-witted Mgr : Jorge Barbachano Ponce; Prod Mgr : Federico yucateco ), and segments featuring comedians “Cuco Amerigo; Prod Chief : Evaristo Mares, Carlos Rincón Pelucho” and “don Silvio Pinole” (a stereotypical Gallardo, Roberto Jaramillo; Film Ed : Luis Sobreya S.; ranchero ). These vary in effectiveness—extended Sound : Adolfo de la Riva; Sound Op : Rodolfo Quintero; sequences with Cuco Pelucho playing golf, demonstrating Union : STIC bad/good table manners, and performing modern dance are Cast : Humberto Cahuich, Pancho Córdova, “Cuco weak, but Cahuich is fairly consistently amusing in his Pelucho” [José Vidal García], Carlos Robles Gil, Manuel bits. Vergara “Manver,” Chabelo, Ramiro Gamboa, “Alonsito,” One of the most Lalo González “Piporro” interesting non-“series” Notes : the second Chistelandia film follows the same segments is entitled general format as the first, although the pre-credits “Amor X,” and introduction is handled by yucateco comic Humberto alternates footage of a Cahuich—periodically distracted by an attractive actress love scene between two walking across the set--who tells the story of how he people and x-ray financed the movie (robbing cash from a safe), and found footage of the same the actors (releasing them from a mental hospital). When scene: this isn’t the real director and crew arrive, Humberto picks up his especially funny, but it broom and resumes his usual is definitely weird and interesting to watch. duties... There is very little political, social—or even topical— Some of the segment humour in Chistelandia . Gringos are featured in several categories and performers bits, and at least 3 or 4 segments contain “funny” from the first film reappear, references to gays, but the majority of the humour is either but others are dropped. based on hoary, universal stereotypes and tropes (women Chabelo and Ramiro Gamboa vs. men, stingy norteños , stupid people, bodily functions, show up in several brief bits, sexual attraction and so forth). Consequently, and “Alonsito” replaces Cuco Pelucho and Silvio Pinole as Chistelandia is actually a more “universal” comedy (aside a featured comedian (although Cuco Pelucho can be seen 12 THE MEXICAN FILM BULLETIN Volume 18 Number 6 (November-December 2012) in various scenes, he’s not billed separately). Pancho "absolutely nothing." He then introduces a newsreel which Córdova returns as “Flecos Bill” in the five-part “Flecos occupies almost the first 15 minutes of the movie, before Bill contra El Charro-Asqueado,” another Western-movie the credits! The newsreel spoof narrated by Piporro. Córdova also has a short consists of old footage segment in which he mentions the “new satellite” (which with "comical" narration; then swoops into the frame, causing him to duck), an the most amusing parts obvious reference to the launch of Sputnik in October are the inter-titles which 1957. consist of rather clever New repeated gag segments include “Loquilandia” word-play in English and (humour about a psychiatrist and his patients) and “Hans y Spanish. For example, Fritz” (two German-accented characters). It is worth "Modern Home Runs for noting that one bit—about beautiful actresses--features Dodgers" and several portraits of María Félix and an extremely short clip "Tecnología para el hogar moderno" [Technology for the of Ana Bertha Lepe in a bathing suit. Modern Home]. Nueva Chistelandia is, like its predecessor, sporadically In place of Pancho Córdova's multi-part "Flecos Bill" amusing but 80+ minutes of “blackout” gags is a bit too movie spoofs, Vuelve Chistelandia! features 6 mini-spoofs much to take at a single sitting. of older films and plays: "Carmen Ole!", "La dama Vuelve de las camelias," "El Sheik Junior," "Rasputin," "Yo Chistelandia! también Colón" [a spoof of [Joke-Land the 1953 play "Yo Colón" Returns] (Prods. which starred Cantinflas; Barbachano Ponce, the Teatro de los 1958) Prod : Insurgentes, where the play Manuel was presented, is credited Barbachano Ponce; on Vuelve Chistelandia! for Dir : Manuel providing the sets], and Barbachano Ponce, "Marco Toño y Cleopetra." Carlos Velo Each of these begins with a Cobelas, José Miguel García Ascot, Fernando Marcos; faux production company Photo : Ramón Muñoz, Alejandro Velázquez, Ernesto logo, including "Calumnia Martínez, Emilio González, José Torre, Marcelo López, [Columbia] Pictures," Roberto Sánchez U., F. Vega Gil, Luis Morales; General "Centímetro Gómez Meyer" Mgr : Jorge Barbachano Ponce; Prod Mgr : Federico Amerigo; Prod Chief : Evaristo Mares, Carlos Rincón [MGM], "Paramontes Gallardo, Roberto Jaramillo; Film Ed : Luis Sobreya S.; Aquí" [Paramount Sound : Adolfo de la Riva; Sound Op : Rodolfo Quintero; Pictures], and "J. Arturito Union : STIC Clank" [J. Arthur Rank]. Cast : Humberto Cahuich, Pancho Córdova, “Cuco There are also multiple Pelucho” [José Vidal García], Chabelo, Ramiro Gamboa, segments--but not as many Giovanni Korporaal, Manuel Vergara "Manver," Carlos as in the previous entries-- Robles Gil, Federico González? starring Humberto Cahuich Notes: Vuelve Chistelandia! is the third and least of the and the team of Chabelo three Chistelandia features. The performers and content is and Gamboa, in addition to mostly the same as the first two films, but the material repeated "themes" such as "Cosas que pasan" and "Viva seems tired, somehow. Some of the "jokes" don't seem to Herodes" [a phrase used when referring to badly-behaved even be trying: for example, a children, since King Herod ordered the deaths of infants in man enters a dark room to his attempt to kill the Christ child]. replace a light bulb, accidentally Vuelve Chistelandia! adds an additional gag format, sticks his finger in the light whereby a single joke is spread over a series of 4 or 5 socket, then twitches in pain as segments (with the punch line not appearing until the final the light bulb (in his other hand) part). For example, in "Gran Jefe Apache," a stereotypical lights up. That's funny? Indian chief is taking a train ride. He repeatedly asks his As before, Vuelve assistant (another be-feathered Native American) for a cup Chistelandia! opens with a pre-credits sequence that of water to drink. The final time, his aide returns and says breaks the fourth wall. In this instance, Pedro Córdova he couldn't get any water: "A pale-face is sitting on the addresses the unseen "cinema" audience, sends an white bowl where I've been getting your water." attractive woman to sit with a single man, hands a woman The film, like its two predecessors, features a number a baby to hold, and tells the viewers this is a film about of gay jokes--in one, a newspaper heading referring to 13 THE MEXICAN FILM BULLETIN Volume 18 Number 6 (November-December 2012) "Sex Change Operation in very well-known, even (albeit mostly in retrospect) Denmark" (i.e., Christine internationally. Muñoz apparently made his film debut in Jorgensen) gives way to the mid-1940s, but he was elevated to feature-player status footage of an effeminate playing “Zorrillo” (skunk) in the 3 “Caperucita” movies man preparing to board an directed by Roberto Rodríguez in 1959-60. Ironically, airliner--as well as at least Muñoz’s face was not seen and his dialogue was post- one black-face gag about dubbed by Eugenia Avendaño. African "cannibals." Santanón, as he was usually billed, Although there are a also worked for Rodríguez in other few amusing bits--notably Pancho Córdova's movie childrens’ films such as El Gato spoofs-- Vuelve Chistelandia! scores much lower on the con botas and Los espadachines de humour and inventiveness scale than the other two films in la reina , and appeared sans the series. costume in pictures like La cámara del terror and La muerte viviente, both with Boris Karloff, and Santo y Blue Demon contra los monstruos . Most of Santanón’s roles were supporting parts (or less), but he was prominently featured in at least two films, El satánico —where he’s essentially the protagonist—and Padre nuestro que estás en la tierra (1971), in which he is third-billed but has a major dramatic part as the loving father of Manuel López Ochoa. Both of these pictures utilise Santanón’s little-person status as a major plot point—that is, he isn’t cast as “just another guy”—but both are far more sensitive and sympathetic to his character than routine genre films where his physical appearance is used as a grotesque or scary aspect of the movie. El satánico is actually a rather good crime drama, shot on location in Puerto Rico, with decent acting and a clever plot. The cast and crew is a mix of Mexicans, Argentines (Leblanc), Puerto Ricans, ex-patriate Cubans, and Spaniards. The El satánico [The Satanic One] (Filmica Vergara- production values are Jorge García Besné-Pels. Portorriqueñas Inc., 1966) Prod : satisfactory, with well- Jorge García Besné; Dir : José Díaz Morales; Adapt : Jorge chosen locations. García Besné, Raúl Portillo; Story : Raúl Portillo; Photo : Orlando Jiménez Leal’s Orlando Jiménez Leal; Music : Jesús Rodríguez; Songs : photography is Los Hermanos Rigual; Prod Mgr : Eduardo de la Torre; interesting, because he Prod Chief : Oswaldo Sánchez; Asst Dir : José de San (and/or director José Antón; Film Ed : Raúl Portillo; Asst Cam : Carlos López; Díaz Morales) Lighting : Miguel Lavilla; Makeup : Carmen Morales; frequently shoots from a Music/Re-rec :: Salvador Topete; Dialog Rec : Jesús low-angle (even including the ceiling in many shots), Saldívar which tends to place Santanón’s character on an equal Cast: Libertad Leblanc ( Norma ), Miguel Ángel footing (even subliminally) with the others, despite the Álvarez ( Roberto ), “El enano Santanón” [Rafael Muñoz] height disparity. (Tony Rojas ), Gladys Rodríguez ( Alicia Ponce ), José As the film begins, Roberto, Norma, and Tony—a little Yedra ( Mario Suárez ), Juan Batista (? Gómez ), José de San person disguised as a child—enter a large department Antón ( police inspector ), José M. Bonilla (? Detective store. Tony hides in a large box; after the store closes, he Bonilla ), Vicky Hernández, Iris Figueroa, Alicia Moreda emerges and steals a quantity of jewels from the safe. (Alicia’s aunt ), Tino García, Ondina Canibano, Oswaldo Gómez, a “fence,” purchases the hot jewelry and Tony Sánchez; flamenco troupe : Ballet Ramón de Cádiz; Ramón pays off Roberto and Norma, who are his accomplices. He de Cádiz ( director & choreographer ), Maruja Heredia also gives Norma a diamond necklace for herself. The (principal dancer ), Juanita Acevedo & Esperanza Cordero police are puzzled by the robbery, one of a number of (dancers ), Luis Bargaz ( cantaor ) similar crimes committed in the past several years in the Notes : the most famous little-person performer in city. Mexican cinema was probably René Ruiz “Tun Tun,” who Tony, who also owns a nightclub, is on the beach one appeared in numerous films between 1949 and his death in day when he meets Alicia, a young woman who was 1993. However, during the 1960s and ‘70s Rafael Muñoz blinded in an automobile accident. He befriends her, and “Santanón” worked in a number of films which made him decides to pay for an operation that will restore her sight. 14 THE MEXICAN FILM BULLETIN Volume 18 Number 6 (November-December 2012) [Shades of City Lights meets High Sierra .] In the Otherwise, the film is a satisfactory “caper” film/drama, meantime, he asks her aunt not to tell Alicia “how I am.” with decent acting and dialogue. Santanón’s dialogue was Gómez informs Tony and Roberto that a valuable, gem- probably post-dubbed, but he turns in a good performance studded statue will soon nonetheless. The script cleverly alludes to things without be on exhibition in San blatantly smashing them in the viewers’ faces. For Juan (it’s currently on instance, Alicia says her parents were killed in the car display in NYC). They accident that blinded her, and asks about Tony’s family. plan the robbery. He says his mother died when he was born and his father Meanwhile, a drunken died when he was 16 years old. “But up until then, [your Norma seduces Mario, a father] was your friend and support, right?” Alicia asks. young man who runs “Yes,” Tony replies, “my friend and support,” but his Tony’s club. Tony facial expression and tone of voice indicate quite the catches them in a heated contrary. We never get any further information about his embrace and stabs childhood, but it certainly wasn’t carefree and happy. Mario to death; he orders Norma to leave and “go back to Tony’s that place I took you from.” In flashback, we see Norma infatuation working in a brothel (Roberto is also employed there as a with Norma— bookkeeper or something). Tony gets a job as a waiter; and her barely- one day when business is slow and the prostitutes are disguised bored, they play a game that concludes with Tony having disgust when sex with Norma. He falls in love with her. When he gets a she’s in his lucrative job as a specialty “dancer” in a nightclub, Tony presence—are proposes marriage to Norma but she scorns him. Roberto more familiar introduces Tony to Mario, and they embark on a career of stuff, but not crime. Later (we’re told), Tony returned to the brothel and badly done. lured Norma away with promises of money. Additionally, Alicia’s operation is a success, but Tony vanishes from Tony and Roberto’s relationship is fairly believable. Tony her life. She discovers his address and visits his says he’s never had a friend before, and while Roberto is apartment, but arrives too late: Tony and Roberto have using the other man’s “talents” (his size and agility) for his departed for New York, where the valuable statue is on own financial purposes, he seems to be genuinely display at the Metropolitan Museum of Art. The statue is appreciative of this (and since Tony, for unexplained crated up for its journey to Puerto Rico: Tony hides inside reasons, becomes the “boss,” Roberto is apparently content a specially-designed trunk, emerges in the cargo hold to take orders). Norma offers herself to Roberto but he during the flight, and removes the gems from the idol. puts her off, saying he prefers Tony’s money to her However, when the plane lands in San Juan, Roberto physical charms. Later, he succumbs when they are alone doesn’t free Tony. Tempted by the fortune in jewels, he on a boat, but this does not develop into any sort of takes the trunk to Tony’s romance: at the end, Roberto says he’s betraying Tony for apartment and submerges the money (not because he’s in love with Norma). Miguel it in a bathtub full of Ángel Álvarez plays Roberto as money-hungry but not a water, drowning his caricature, and his murder of Tony comes as a surprise as a former boss. The police, result of this well-modulated performance. Libertad following up on Mario’s Leblanc is, if not outstanding, at least satisfactory in what murder (his body was is really a subsidiary role: she’s adequately repulsed, found on the beach), have lustful, frightened, angry when the script requires her to arrested Norma; they be. Gladys Rodríguez is attractive and does a bit more arrive at the apartment in with her role as the "poor blind girl" than one would time to capture Roberto and discover Tony’s body. expect. The script also avoids a maudlin or awkward The version of El satánico I’ve seen (on the Cine confrontation between Alicia and Tony after she recovers Nostalgia channel) has at least one very obvious cut and is her sight, cleverly having them miss each other by a matter apparently missing some other scenes, although it’s of minutes when Alicia tracks down his address. Instead, unclear if these were present in any released version of the she'll never know the true identity of her benefactor (unless movie. In one sequence, Norma accepts a large amount of she reads the newspaper the day after Tony's body is money to do a strip-tease at the brothel, but the scene cuts discovered in the bathtub). just as she starts to play a song on the jukebox. El satánico was a pleasant surprise, a more Additionally, Tony’s career as a “dancer” is never shown, accomplished and entertaining film than I'd expected from not even his audition or any hint of what his act might the rather sleazy ad campaign, complete with a nice, lurid possibly involve. Roberto takes him to a club and poster by Ruiz Ocaña. introduces him to the director of the floor show, and the next thing we know Tony has a lucrative contract and says he’s a big hit. 15 THE MEXICAN FILM BULLETIN Volume 18 Number 6 (November-December 2012) Index to The Mexican Film Bulletin Eterna mártir #1 Fantasma vs. el secreto de la urna, El #5 Volume 18 (2012) Federal de caminos, El #6 Gangsters contra charros #1 Articles: Hombres sin alma #1 The Career of Juan Orol, Part 1 #1 Honorarás a tus padres #1 The Career of Juan Orol, Part 2 #2 Infierno de los pobres, El #1 2012 Ariel Awards #3 Leyenda de la Llorona, La #5 Alberto Vázquez-Figueroa, Novelist-Director #4 Luponini de Chicago #4 Maldición de Nostradamus, La #5 Obituaries: Manaos #4 Alejandro Parodi #6 Maravilla del toreo #6 Alfredo Joskowicz #3 Marca del muerto, La (Creature of the Walking Dead) #5 Aurora Bautista #5 Marijuana (El monstruo verde) #6 Carlos Cobos #3 Mesera del Café del Puerto, La #1 Carlos Fuentes #3 Miss Bala #3 Chavela Vargas #4 Muerte pasa lista, La #2 Dulce Kuri #4 Mujer de Oriente, Una #1 Emilio Aragón "Miliki" #6 Mujer para los sábados, Una #2 Ernest Borgnine #3 Nostradamus, el genio de la tinieblas, El #5 Fernando Casanova #6 Nostradamus y el destructor de monstruos #5 Gustavo Montiel #5 Nueva Chistelandia #6 Joaquín Martínez #1 Organización criminal #2 Jorge Luke #4 Oro rojo #4 Julia Marichal #1 Pasiones tormentosas #3 Julio Alemán #2 Pastorela #3 Lizardo Díaz #6 Perdición de mujeres #1 Lucy Gallardo #4 Playa azul #3 Luis de Llano Palmer #5 Plazos traicioneros #1 Manola Saavedra #5 Precio de la fama, El #4 Manuel González Casanova #2 Príncipe del desierto, El #3 Miguel Ángel Álvarez #1 Quién mató a Eva? #4 Miguel Couturier #1 Reino de los gangsters, El #1 Patricia Medina #3 Salvando al soldado Pérez #4 Richard Lynch #3 Sandra #1 Tony Leblanc #6 Sangre de Nostradamus, La #5 Satánico, El #6 Sexo fuerte, El #5 Film Reviews: Siboney #2 Águila Negra, El #6 Sindicato del crimen, El #1 Amor salvaje #1 Tania la bella salvaje #2 Antesala de la silla eléctrica #2 Te odio y te quiero #1 Asesino invisible, El #5 Terrible gigante de las nieves, El #5 Bajo la influencia del miedo #1 Toro negro, El #6 Caballito volador, El #3 Tren de la muerte, El #2 Cabaret Shanghai #1 Tunco Maclovio, El #2 Calacán #5 Vampiro y el sexo, El (Santo en el tesoro de Dracula) #5 Calvario de una esposa, El #1 Vuelve Chistelandia #6 Charro del arrabal, El #1 Chistelandia #6 Colmillo de Buda, El #3 The Mexican Film Bulletin is published 6 Corazón y la espada, El #3 times a year by David Wilt, 6803 Dartmouth Crates #3 Ave, College Park MD 20740, USA. Email: Cruel destino #1 [email protected] Contents ©2012 by David E. Días de gracia #3 Wilt, except for material already copyrighted, Diosa de Tahiti, La #1 El que murió de amor #5 which is used under the Fair Use Provisions of Escuadrón Counterforce #4 the law. Read MFB online at: Escuadrón de la muerte #4 www.terpconnect.umd.edu/~dwilt/mexnews.html Escuadrón salvaje #4 16