THE MEXICAN FILM BULLETIN Volume 19 Number 5 (Sept-Oct-Nov 2013)

The Mexican Film Bulletin

Volume 19 Number 5

September ---October 2013

in August 1944 in Monterrey, Nuevo León, and studied Obituaries acting at the Instituto de Bellas Artes. She made her professional acting debut in the early 1960s. Lozano was a Ana Bertha Lepe popular performer in films, on television, and on the stage, Actress Ana Bertha Lepe, one of the most popular also working in the field of dubbing (notably as the voice Mexican film stars of the latter half of the 1950s and the of Barbara Eden for the Mexican broadcasts of “I Dream 1960s, died on 24 October 2013 in a Mexico City hospital, of Jeannie”). following complications from a hernia operation. Ana Lozano’s film career Bertha Lepe Jiménez was spanned about 20 years born in Tecotitlán, Jalisco (although she later worked on 12 September 1934. in several shorts in the She began modeling and 2000s), and included films acting professionally in such as Gigantes the early Fifties, and planetarios, Don Juan 67, gained fame as the “Miss Sangre derramada, La México” representative in derrota, and El hombre the 1953 Miss Universe desnudo . In the latter two contest (which, movies she co-starred with coincidentally, was won her then-husband José by France's Christiane Alonso: their daughter María Rebeca began acting herself Martel—Martel herself at a young age. Lozano later married Omar González and became a popular star in her son from that marriage, Rafael Omar, is also an actor. Mexican cinema shortly afterwards). After a number of minor roles, Lepe achieved stardom Amparo Rivelles opposite comedians like Tin Tan, Clavillazo, Piporro and Resortes, appearing as well in numerous melodramas, Spanish actress Amparo Rivelles died in Spain on 7 action films, and other genre works. Between 1953 and November 2013; she was 88 years old. Rivelles, whose 1959 Lepe made 35 movies. Her career was seriously grandparents, parents, brother, nieces and nephews were affected by a scandal which occurred in May 1960, when all actors, was born in Madrid on 11 February 1925. She her father Guillermo Lepe shot and killed actor Agustín de made her acting debut in a Anda, son of producer Raúl de Anda. This affected the play at the age of 13, and actress both personally and professionally: after a year on became a popular film an unofficial blacklist, Lepe returned with a vengeance, actress in Spain in the early making 17 features in 1961-62. But her career declined as 1940s. In 1957, Rivelles the decade went on, and she was off-screen from 1969 visited Mexico to appear in a until 1974, when she made two films for Rogelio play, and remained there for Agrasánchez. more than 20 years, Ana Bertha Lepe appeared in 1 additional feature film returning to her homeland to (El patrullero 777 with Cantinflas) and several TV series live in 1979. She resumed during the 1970s, then made a handful of television her film, TV, and stage appearances in the next two decades. Her last acting work careers there, finally retiring came in 2001. For much of the latter part of her life, Lepe in 2006. was plagued with ill-health and lived a quiet life in Rivelles’ work in Texcoco in the state of México. Mexico included plays, telenovelas , and films. Among the latter (including co-productions shot in Spain) were El esqueleto de la señora Morales, El amor que yo te di, Un iRMA LOZANO amor perversa (aka La madastra ), Los novios de mis hijas Irma Lozano died of cancer on 21 October 2013; she and the sequel Los problemas de Mamá, Cuando los hijos was 69 years old. Susan Irma Lozano González was born se van, Anita de Montemar, and Una vez...un hombre .

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THE MEXICAN FILM BULLETIN Volume 19 Number 5 (Sept-Oct-Nov 2013) johnny laboriel only slightly behind Iron Man 3 and Despicable Me 2 for 2013, even though it was released much later in the year Singer and occasional actor Johnny Laboriel died of than either of those Hollywood films. Nosotros los cancer on 18 September 2013. Juan José Laboriel López Nobles , another highly popular Mexican movie, currently was born in Mexico City on 9 July occupies the 7 th slot in annual Mexican box-office returns, 1942, the son of actor-musician Juan with over $26 million locally. José Laboriel and actress Francisca López. Laboriel joined the group “Los Rebeldes del Rock” in the late Annual Halloween Issue! 1950s, then became a solo artist with Sorry for the tardiness of this issue, but family issues numerous hits throughout the took their toll on my “free” time for nearly the entire following decade. He remained a month of October. I will do my best to produce another popular musical performer until his issue of MFB before the end of calendar 2013. Thanks to death, appearing frequently in everyone for their patience and support! concert and other live venues. Although not primarily an actor, Laboriel worked in a number of Mexican films as a musical guest, among them El ahijado de la muerte [The Godson of Death] A ritmo de twist, El dengue del amor, and La mano que (Películas Anahuac, 1946) Prod : Oscar Dancigers; Dir : aprieta . He did have acting roles in a handful of films, Norman Foster; Scr : Norman including La venganza de Gabino Barrera and Superzán el Foster, Raquel & Luis invencible . Alcoriza; Photo : Jack Draper; Johnny Laboriel is survived by his widow and two Music : Manuel Esperón; children, as well as his sister, singer Ela. His sister Francis Songs : Esperón y Cortázar; died in 2008. Prod Mgr : Federico adela fernández Amerigo; Prod Chief : Alberto Ferrer; Asst Dir : Writer Adela Fernández y Fernández, daughter of Ignacio Villareal; Film Ed : director Emilio “Indio” Fernández, died on 18 August George Crone; Art Dir : 2013. She was 70 years old. Fernández was born in Gunther Gerzso; Makeup : December 1942, at which time her father was just Armando Meyer; Sound becoming one of Mexico’s most famous film directors. Engin : Nicolás de la Rosa; Adela Fernández dedicated herself to writing stories, Titles : Saviur y Delgado books, and plays, although she also studied and taught Cast: Jorge Negrete acting, and made several short films. She also spent time (Pedro Ruiz ), Rita Conde ( Marina ), Leopoldo Ortín preserving her father’s heritage, hoping to convert his (Dionisio Ruiz ), Tito Junco ( Carmelo ), [Alejandro] home “La Fortaleza” into a cultural center and museum in Ciangherotti ( Julio del Castillo ), Emma Roldán ( La his honour. Muerte ), Francisco Jambrina ( priest ), Manuel Dondé Gustavo García (José ), Juan García ( El Coyote ), Enrique Cancino Film critic and journalist Gustavo García died on 7 (Macario ), Carlos Múzquiz ( El Cachorro ), José Elías November 2013. García was born in Chiapas in 1954, and Moreno ( El Norteño ), Raúl Guerrero ( outlaw ), Ceferino studied at UNAM before becoming a film critic, teacher, Silva (? Santos ), Chel López ( El Chueco ), Lupe Inclán and journalist. His books on Mexican cinema include “La (Nana ), Aurora Walker ( Sra. del Castillo ), José Muñoz década perdida: El cine mexicano de los cincuenta,” “No (leader of rebels ), ?Trío Calaveras, Enriqueta Reza ( old me parezco a nadie: La vida de Pedro Infante,” and “Al beggar woman ), Leonor Gómez ( woman who dances with son de la marimba. Chiapas en el Cine.” Pedro ), Ignacio Peón ( man on hacienda ), Daniel Pastor, Hernán Vera ( cantinero ), Margarito Luna ( Carmelo’s henchman ), Jorge Treviño ( band leader ) No se aceptan devoluciones Notes: Norman Foster had a relatively brief but fairly distinguished directorial career in Mexico between 1943 sets boxbox----officeoffice records and 1946, after which he went back to Hollywood and No se aceptan devoluciones , continued making films until the 1970s. El ahijado de la directed by and starring Eugenio muerte was his penultimate Mexican film ( El canto de la Derbez, set box-office records in sirena , an apparently lost fantasy film about a mermaid, México and in the United States was his final work there) and is considered one of his best. (where it’s known as Instructions The photography and art direction (by Jack Draper and Not Included ). The film has earned Gunther Gerzso, respectively) are especially impressive, over $85 million internationally, grafted onto a ranchera tale with mystical and tragic nearly evenly split between Mexico overtones. and the USA. In Mexico, it lags 2

THE MEXICAN FILM BULLETIN Volume 19 Number 5 (Sept-Oct-Nov 2013) During the Revolution, a group of rebels camps ranchera sub-genre) of social conflict on a hacienda, with overnight in a cemetary. They’re warned of the presence an unhappy ending (not unknown, eg El peñón de las of federales by an old man, who sits down to tell them a ánimas ) and references to the Revolution settling old story that occurred on the hacienda some years before... scores and rectifying social injustices, along with After the birth of his son Pedro, Dionisio Ruiz visits the numerous musical numbers. cemetary on the Día The movie’s overt mysticism isn’t quite as common: de la Muertos in while it’s unclear if Pedro is actually invulnerable due to search of appropriate his madrina’ s intervention or not (in one scene a bullet godparents, since strikes his belt buckle and thus doesn’t harm him, but in everyone from the another scene he really does appear to be bullet-proof), it’s hacienda is there for clear in the context of the film that La Muerte does exist the holiday. Turning and isn’t simply a figment of the alcoholic imagination of down the patrona as Dionisio. [In the scenes in which she talks with Dionisio well as a poor beggar she’s out of focus, until he dies, and then they’re both in- woman, he is focus.] Pedro never sees her, although he does hear her (in approached by La Muerte, death personified, who offers to voiceover) towards the end of the movie. This fantasy take the position of madrina . “I have to ask my wife,” aspect, as noted above, doesn’t play a major part in the Dionisio replies, but La Muerte says she has just spoken to actual plot (if completely excised, the story would be more the woman (uh-oh), so the deal is sealed. Dionisio’s wife or less the same), but it does contribute to the overall is dead when he returns home. Pedro becomes a daring effectiveness of the film. young boy, convinced that he’s invincible because he’s The performances are adequate, with Negrete in good “Death’s Godson.” Years pass, and adult Pedro is now the form and caporal (foreman) of the hacienda . He loves Marina, the voice. daughter of the late owner, but realises their differing Leopoldo social statuses will always separate them. When Julio, “Chato” Marina’s brother, returns to take over the management of Ortín had the estate, he orders everyone to work harder, cuts off semi-retired credit to the peones , and institutes corporal punishment for from those who break his rules. performing Pedro intervenes to prevent Julio’s henchman Carmelo a few years from branding José as a troublemaker, and is branded earlier due himself instead. Thrown into a scorpion-infested dungeon to health afterwards, Pedro escapes with his father’s help and flees issues, but across the mountains. He joins the outlaw band of made occasional screen appearances until his death in Macario, and they prey on caravans leaving Julio’s 1953. He’s fine here, looking a bit thinner and older (some hacienda . Pedro also abducts Marina, whom he believes of it was the makeup, of course). Rita Conde, born in betrayed him to Julio earlier. He orders a kidnaped priest Cuba, made her screen debut in El ahijado de la muerte to marry them, but repents and agrees to release both but spent most of her career in Hollywood, earning a rather Marina and the clergyman. However, Julio and his men sparse number of credits from the late 1940s through the attack the outlaws’ hideout, killing or capturing most of late ‘80s. She’s attractive enough, but her dialogue seems the band. Pedro and to have been post-dubbed (possibly due to a Cuban Marina flee, with accent?). Emma Roldán dials it back a little bit as La Julio and the others Muerte, playing the personification of Death in a matter- in pursuit. Carmelo of-fact manner (she’s given some effectively witty lines, shoots and mortally but doesn’t overdo it). Everyone else is alright without wounds Marina; he’s being particularly noteworthy. tossed off a cliff by Visually quite stylish and generally interesting overall. Pedro, starting an avalanche that kills Julio and many Platillos voladores [Flying Saucers] (Productora others. Mier y Brooks, 1955) Exec Prod : Ernesto Enríquez; Prod : Pedro, who is the old man telling the story, joins the Felipe Mier, Óscar Brooks; Dir -Scr : Julián Soler; Adapt : rebels in their fight for tierra y libertad . Carlos Orellana, Pedro de Urdimalas; Story : Carlos León; El ahijado de la muerte is quite stylish, with lots of Photo : Agustín Martínez Solares; Music : Manuel Esperón; camera movement, odd angles, and other filmic effects. Prod Mgr : Eduardo Vega Lavín; Prod Chief : Enrique The sets are extensive and very well-designed, and the Morfín; Asst Dir : A. Corona Blake; Film Ed : Carlos production values overall are substantial and slick. The Savage; Art Dir : Jorge Fernández; Decor : León D. script isn’t quite so well crafted: it’s essentially a standard Cabañas; Lighting : Juan Durán; Camera Op : Antonio dramatic-ranchera tale (as opposed to the lighter comedic- Carrasco; Makeup : Elda Loza; Music/Re-rec : Enrique 3

THE MEXICAN FILM BULLETIN Volume 19 Number 5 (Sept-Oct-Nov 2013) Rodríguez; Dialog Rec : Rodolfo Benítez; Sound Ed : fiancee convinces him they should pose as visitors from Abraham Cruz; Spec FX : Armando Stahl outer space. Over a period of time, Marciano and Cast: Resortes [Adalberto Martínez] ( Marciano ), Saturnina become celebrities, speaking to assemblies of Evangelina learned scientists and telling them of the utopia that exists Elizondo on Mars. People are happy, there is no poverty, scientific (Saturnina ), Andrés progress has eliminated disease, and so forth. Gringo Soler ( Prof. Sammy secures them a number of lucrative product Saldaña ), José endorsements. Venegas Sneaking out one night incognito, Marciano and (Venustiano ), Saturnina realise they miss their former life, and confess Amalia Aguilar their deception to Prof. Saldaña. He says he knew almost (musical guest ), immediately that they Carlos Riquelme weren't aliens, but (Saturnina's father ), allowed the fiction to Vitola ( Saldaña's stand because their daughter ), José Ruiz message of tolerance, Vélez ( TV love, and brotherhood announcer ), Julién gave humanity hope for de Meriche ( Dr. the future. Marciano and Ivan ), Roberto Saturnina return to the Palacios ( Asian barrio and hand out scientist ), Arturo presents to everyone (purchased with their endorsement Castro ( municipal president ), José Chávez Trowe ( police money). However, as they drive away on their honeymoon chief ), José Pardavé ( village doctor ), Berta Lehar ( French (in a new car), they spot two strange creatures on a remote woman ), Humberto Rodríguez ( "blind" beggar ), Hernán highway--real Martians?! Vera & Emilio Garibay ( men at carnival ), Mirón Levine Platillos voladores begins as a typical urban barrio (French scientist ), Roberto Corell ( scientist ), John Kelly comedy, with plumber-inventor Marciano defending his (Sammy from Chicago ), Rafael Estrada ( scientist ), claim on the curvaceous Saturnina against the wealthy Armando Velasco ( philanthropist ), Manuel Sánchez braggart Venustiano. This section is followed by the Navarro ( architect ) "discovery" of the aliens by the residents of a small Notes : Platillos voladores is an interesting--if flawed-- village, and resembles a rural comedy, with the typical film. Only marginally science-fiction, the picture contains stereotypes of that genre. Once Marciano and Saturnina too many musical numbers, and has a clunky, episodic are taken back to the city by Saldaña, the film imitates a script, but does contain some commentary about the nature more sophisticated urban comedy--possibly inspired by the of celebrity and the influence of famous people on the then-recent Living It Up (1954), the Martin & Lewis general public. remake of Nothing Sacred (1937), another movie about Marciano is a humble plumber engaged to Saturnina, someone who becomes a celebrity under false pretenses-- the daughter of a fake "blind" beggar who would prefer her mocking the press, scientists, and so on. This gives way to to marry their landlord Venustiano. On the night of a rather Capra-esque preaching in the sequences in which costume party in their vecindad , Marciano dresses up like Marciano and Saturnina (but mostly Marciano) obliquely a robot and Saturnina wears a sexy showgirl outfit. A criticise Earth's political and social systems by pointing out brawl breaks out the superiority of the Martian way of life. Each of these between Marciano, disparate elements is periodically interrupted by song-and- Venustiano, and some dance sequences, including one long "fantasy" number and other guests, causing another lengthy "dancing in the street" sequence. The Marciano and Saturnina musical sections aren't bad but they certainly add to the to flee in his home- fragmented feel of the movie. made automobile. The As mentioned earlier, the science-fiction content of car has an airplane Platillos voladores is minimal. Marciano's car rather motor (Marciano hopes improbably flies (not something he'd planned), and its to win the Panamerican flight is represented by a crude optical effect. The "real" road race with it) and it Martians in the final scene appear out of nowhere (would it actually soars into the sky! Crashing near a small country have killed the filmmakers to include a shot of a crashed village, the car is mistaken for a spacecraft and the flying saucer?) and look odd (like children in costumes) unconscious passengers are assumed to be aliens. rather than alien. Scientist Dr. Saldaña arrives and takes charge of the There are several flaws in the film's plot. The first, "bodies," which revive when taken back to his laboratory. which is briefly addressed then ignored, is: why doesn't Marciano, whose name means "Martian" in Spanish, tries anyone recognise Marciano and Saturnina after they to explain that he and Saturnina are humans, but his become famous? On several occasions (Marciano's TV 4

THE MEXICAN FILM BULLETIN Volume 19 Number 5 (Sept-Oct-Nov 2013) broadcast, the couple's "night out" in the city) I was certain FX : Juan Muñoz Ravelo; Choreog : Ricardo Luna; the script was going to have them "outed" by Venustiano Costumes : Armando Valdés Peza; Union : STPC or someone else from the barrio , but this never occurs (or Cast: Germán Valdés “Tin Tan” ( Germán Pérez ), Ana is even threatened). Another, perhaps more fundamental Luisa Peluffo ( Ana “la Tobillera”, Ana ), Manuel “Loco” yet understandable, is the relative ease with which Valdés ( Manuel López ); bank robbers : Luis Aldás, Miguel Marciano--a working-class plumber, albeit one who's Manzano, Tito Novaro; Ana’s parents : Marcelo Chávez, clever with machinery--slips into the role of an alien Virginia Manzano; Arturo Correa ( Armando ), Alejandro savant . To be Reyna ( policeman with tic ), Carl-Hillos ( newspaper sure, much of the editor ), Mario Zabadúa [sic], Fernando Chehuán [aka philosophy he Fernando Yapur] ( policeman in jail ), Rogelio A. González spouts is double- Jr. ( director of “Torero” sequence ), Antonio Valdés, talk and the ?Daniel Tellez Wood, ?Socorro Bastida eagerness with Notes: a generally amusing film, helped considerably which it is by the teaming of brothers Tin Tan and Loco Valdés. The accepted by others is more a reflection of their credulity optical effects are sub-standard and hurt the picture a bit, than his intelligence, but Marciano is just too glib to be but this movie is pleasant enough overall. believable. In the early part of the 20 th century, Germán Pérez and The political content of the movie is curious. For some Manuel López are rivals for the love of performer Ana “la reason, the script chooses to identify the various countries Tobillera” (the daring represented by foreign scientists with sound-alike names: a highlight of her act is "Russian" is identified as a "Trusiano," for instance. This showing her ankle, or seems sort of pointless, since the characters are blatant tobillo ). An stereotypes and serve no particular purpose in the plot, for impromptu duel in the good or ill, with one exception: Julién de Meriche plays a theatre results in the Russian (excuse, Trusian ) scientist who is ordered to bring deaths of the two men, back Marciano's head for study, and tries to cut it off who turn into ghosts during a sabre dance! and are sentenced to The production values of Platillos voladores are haunt the premises satisfactory, with substantial sets, costumes, and extras. until they become The minimalist special effects don't really harm the movie, friends. 50 years later, Pérez and López discover they since they appear so briefly. Some of the musical have become friends, but the Chief Ghost (heard in voice- sequences are rather elaborate. The performances are over) says they must pass one final test to prove they’re adequate, although the script doesn't allow for much sincere. They will also be allowed to leave the theatre character development. briefly, but will lose their ghostly powers from 8-9pm each Entertaining but possibly disappointing if one was night. expecting a true science fiction film. The “test” comes in the person of Ana, the lookalike granddaughter of La Tobillera. Ana, a reporter, visits the now-closed theatre. Pérez and López rescue her from the Dos fantasmas y una amorous attentions of her photographer Armando. muchacha [Two However, three bank Ghosts and a Girl] robbers have also (Prods. Sotomayor, 1958) chosen the derelict Exec Prod : Heberto Dávila theatre as their hideout. G.; Prod : Jesús Sotomayor The ghosts steal the loot Martínez; Assoc Prod : from a robbery and the Alberto Hernández Curiel; crooks invade Ana’s Dir-Scr : Rogelio A. home (they heard her González [Jr.]; Adapt : giving Pérez and López Fernando Galiana; Story : her address) to recover Alfredo Tato; Photo : Raúl it. Pérez and López use their ghostly powers to defeat the Martínez Solares; Lighting : gangsters and earn their release from Earth, going off to Carlos Nájera; Camera Op : join the spirit of Ana “La Tobillera” in Heaven. Cirilo Rodríguez; Prod Mgr : Fernando Méndez Jr.; Prod Although—as one would expect—Dos fantasmas y una Chief : Enrique Morfín; Asst Dir : Julio Cahero; Film Ed : muchacha features a number of musical sequences, these Carlos Savage; Art Dir: Javier Torres Torija; Music : do not really impede the progress of the plot very much. Sergio Guerrero; Makeup : Román Juárez; Sound Supv : In fact, these are about the only real digressions from a James L. Fields; Sound Dir : Galdino Samperio; Dialog straight linear narrative: in other words, there aren’t any Rec : Javier Mateos; Sound Ed : Reynaldo Portillo; Special truly extraneous scenes to pad the running time. The songs & dances themselves are acceptable for the most part. 5

THE MEXICAN FILM BULLETIN Volume 19 Number 5 (Sept-Oct-Nov 2013) Perhaps the most entertaining is a long production number Recordist : Armando Bolaños; Special FX : Armando Stahl; of “Torero,” which begins with Ana in an abbreviated Union : STPC torera costume and segues into a comedy-musical routine Cast : Tin Tan [Germán Valdés] ( Aldo Valdez ), Ana featuring Manuel and Germán. Each of the brothers also Luisa Peluffo ( Lucy ), Luis Aldás ( Marcucci ), Marcel gets a solo number, a bizarre version of “Witch Doctor” Chávez "Marcelo" ( López ), Vitola ( Gertrudis ), Antonio for Loco Valdés and a fairly straight rendition of the Brillas ( Juan ), Julién de Meriche ( Vladimir, international hit “Voláre” by Tin Tan. choreographer ), Armando Sáenz ( Ramos ), Eduardo One interesting bit (which I’d completely forgotten Arcaraz [sic] ( don Quique ), Francisco Reiguera about until I re-viewed the movie) is a “film within the (Jeremías ), Ramón film” scene featuring a blonde in a tattered dress menaced Valdés & Guillermo by the Frankenstein monster, the Gill-man, the Mummy, Hernández "Lobo and a werewolf. The actress speaks a bit of English and Negro" ( policemen ), then the director also speaks English (“That’s all for Armando Acosta today”) to the cast and crew (before changing to Spanish). (spectator ), José Since this sequence is supposed to be taking place in a Pardavé ( Bravo Sosa, Mexican film studio, the suggestion that the female actors' agent ), Manuel performer and the director are from the USA is a bit Sánchez Navarro puzzling. In any case, Dos fantasmas y una muchacha (man in theatre ), needs to be added to various checklists of appearances of Jorge Zamora ( man in classic monsters in the cinema. theatre ) The production values of Dos fantasmas y una Notes : Gaston muchacha are Leroux's novel "The satisfactory, Phantom of the although most of Opera" has not only the movie takes been officially place on a adapted to the screen numerous times, it has also handful of sets. "inspired" various imitations and homages around the As mentioned world. The title El fantasma de la opereta had already earlier, the been used for an Argentine horror-comedy in 1954, while optical effects Mexican films following the same general concept are not very included Teatro del crimen (1956) and Variedades de effective, with medianoche (1959, also directed by Fernando Cortés and some split-screen starring Tin Tan). work looking very crude (at other times it’s passable). The The 1959 Mexican version of El fantasma de la opereta performances are adequate, with the Valdés brothers is slightly amusing but is not even as serious as the meshing well together but most of the other actors similarly-themed Teatro del crimen (in which the villain suffering from sketchy characterisation (the 3 bank robbers actually kills people). There are also numerous continuity don’t even have names, although in one scene Luis Aldás and logical errors which are somewhat bothersome, and of is apparently referred to as “Barón”—one source lists this course the plethora of musical numbers slows down the as “Aarón”). Director Rogelio A. González Jr. has a pace to a crawl. cameo as an exasperated film director whose scene is Waiter Aldo has a crush on nightclub singer Lucy, but “ruined” by the appearance of López and Pérez. accidentally causes a brawl that results in her dismissal. The reasonably logical and straight-forward plot, along He vows to make her a star, and decides to stage a musical with the amusing chemistry between Tin Tan and Loco revue at the long-shuttered Teatro de la Opereta. Aldo, Valdés make Dos fantasmas y una muchacha decently Lucy, and her assistant Gertrudis learn the theatre closed in entertaining. 1914 when a mysterious "Phantom" appeared and began murdering performers on stage. Regardless, Aldo rents the building from Marcucci and begins hiring (on credit) El fantasma de la opereta [The Phantom of the performers, designers, and other personnel for the show. Operetta] (Prods. Brooks, 1959) Prod : Óscar J. Brooks, The Phantom appears from time to time, leaving Ernest Enríquez; Dir : Fernando Cortés; Adapt : Gilberto threatening notes and wooing Lucy with his violin. Aldo Martínez Solares, Juan García; Story : Alfredo Ruanova; periodically finds "dead" bodies backstage, but these Photo : Jack Draper; Music : Manuel Esperón; Prod Chief : vanish when he returns with witnesses. On the night of the Julio Guerrero; Asst Dir : Manuel Muñoz; Film Ed : Gloria premiere, the Phantom abducts Lucy: when she rejects his Schoemann; Art Dir : Jorge Fernández; Camera Op : romantic overtures, he sets a time bomb to explode at Urbano Vásquez; Lighting : Luis García; Makeup : midnight. Lucy discovers the basement of the theatre is Margarita Ortega; Dialog Rec : Luis Fernández; Sound Ed : filled with contraband (such as French perfume), and Abraham Cruz; Music/Re-rec : Enrique Rodríguez; deduces that the Phantom is the leader of a gang of smugglers trying to keep people away. After a musical 6

THE MEXICAN FILM BULLETIN Volume 19 Number 5 (Sept-Oct-Nov 2013) finale featuring a score of masked Phantoms, Marcucci is One of the odd things about El fantasma de la opereta exposed as the head of the gang, with various others is the lack of characterisation. Everyone is too busy (prompter Juan, critic Ramos) as his accomplices. The running around to have much personality, and this includes film concludes with the appearance of the real Phantom, Aldo, Lucy, and Gertrudis, but especially the various sitting in a chandelier: he says he's going to find another supporting characters. Most of the chief red herrings theatre to haunt, and vanishes! (Marcucci, Juan, Ramos) turn out to be guilty; otherwise, Like Platillos only choreographer Vladimir, dotty Jeremías (who still voladores , El thinks it's 1914 and rants against the Kaiser), and creditor fantasma de la López have much to do, and precious little at that. (Tin opereta has a false Tan's brother Ramón Valdés has a small role as a fantasy premise policeman and is given one brief scene in which he but includes a coda attempts to call for assistance but can't get the other party in which a real to understand the word "opereta"). The performances are fantastic element generally satisfactory, however. appears. The production values are adequate, although there isn't Unfortunately, El much style or atmosphere on display here. Since this isn't fantasma de la really a thriller, but rather a frenetic comedy with an opereta extensive musical component, the lack of "horror" visuals confusingly mixes real and fantasy elements with no can be excused, but the overall flat look of the film cannot. particular rhyme or reason. For example, Aldo sees the [La casa del terror is far superior in this regard, although it murdered bodies of Juan and Marcucci several times isn't burdened by the musical numbers so perhaps the during the movie, but they're gone when he brings back comparison is unfair.] others to see them. This can be explained by the final On the whole, this is very mildly amusing but is neither revelation that Juan and Marcucci are in on the plot to (a) one of Tin Tan's better movies (even in this phase of scare Aldo away from the theatre. However, in another his career), nor (b) a very interesting variation on "The scene, Aldo discovers the hanged body of elderly (and Phantom of the Opera" story. insane) theatre manager Jeremías, which similarly disappears (and Jeremías shows up later, alive). But Jeremías is not a member of the smuggling gang, so he Los fantasmas burlones [The Ghost Jokers] wouldn't have participated in a fake-death scenario. (Prods. The existence of the "real" Phantom isn't revealed until Sotomayor, the final scene, but he shows up at least twice earlier: in 1964) Exec one scene, Lucy unmasks the Phantom (all of the Prod : Phantoms wear Heberto rather featureless Dávila face masks) and is Guajardo; shocked by the Prod : Jesús bestial face Sotomayor underneath (she Martínez; rather inaccurately Dir : Rafael describes it as Baledón; "burned"); later, Scr : Fernando Galiana, Francisco Córdova; Photo : Raúl Gertrudis does the Martínez Solares; Music Dir : Sergio Guerrero; Orch Arr & same thing when she Music Adv : Rubén Fuentes; Prod Supv : Miguel Sotomayor confronts a Phantom. This might have been explained in Martínez; Prod Chief : Julio Guerrero Tello; Asst Dir : the context of "fake" Phantoms by suggesting the horror- Américo Fernández; Film Ed : Rafael Ceballos; Art Dir : face was just makeup, but in the last scene the real Salvador Lozano; Spec FX : Antonio Muñoz Rabelo [sic]; Phantom removes his mask and he has the same face. Choreog : Magdalena Sotomayor; Camera Op : Cirilo Also, most of the time the Phantom wears a slouch hat and Rodríguez; Lighting : Miguel Arana Dávila; Makeup : plays a violin, but in one sequence he's shown with a top María del Castillo; Sound Supv : James L. Fields; Sound hat and sings: in the last scene, the real Phantom wears the Dir : Galdino Samperio; Dialog Rec : Javier Mateos; Union : top hat and references his desire to sing, but in the earlier STPC appearances of the real Phantom he wears the same hat as Cast: Antonio Espino “Clavillazo” ( Manitas ), Germán the fake Phantoms! Finally, the Phantom's romantic Valdés “Tin Tan” ( Sir Ludovico Churchill ), Adalberto attraction to Lucy--a detail borrowed from previous Martínez “Resortes” ( Ojitos ), Manuel Valdés “Loco versions of Leroux's story--appears to be a trait of fake- Valdés” ( François ), María Eugenia San Martín ( Gloria ), Phantom Marcucci, but in the aforementioned "real- Sonia Infante ( Lucha ), María Victoria ( musical guest — Phantom sings" scene, he does sing a romantic song to her. cut?), Marga López ( Berta Sandoval ), Armando Soto la Marina “El Chicote” ( Crescencio Godínez ), Marcelo 7

THE MEXICAN FILM BULLETIN Volume 19 Number 5 (Sept-Oct-Nov 2013) Chávez ( carpa manager ), Ramón Valdés Castillo ( carnival in the first movie becomes a duet between Sir Ludovico employee ), Joe Carson, Manuel Alvarado Lodoza ( judge ), and François here, with an entirely different song (“Un Carlos León ( editor ), Armando Acosta ( magistrate ), sueño es sólo un sueño”) and some added closeups of Tin Carlos Suárez ( telescope man ), María Cecilia Leger Tan and Loco Valdés singing. Unfortunately, all of the (Dorotea Ramírez ) long shots depict the men as they appear in Dos fantasmas Notes: although cheap and slipshod, Los fantasmas y una muchacha , and these don’t match their new burlones is fitfully entertaining despite its many faults. It appearances at all (in the original movie, both men had should be noted, however, that the potentially powerful large, handlebar moustaches, while in Los fantasmas teaming of 4 burlones Tin Tan has his usual moustache and Loco major Valdés is clean-shaven). There is also a reprise of Loco’s comedians—Tin “Witch Doctor” number from the earlier film, which Tan, Resortes, doesn’t appear to have any new footage, but has been Clavillazo, Loco trimmed to a shorter running time. Valdés—falls There are several new musical numbers, including one rather flat, since with Tin Tan as a cowboy, a dance by Resortes, and a Resortes and horribly protracted production number with Tin Tan, Loco Clavillazo are Valdés and cast in Marga López, essentially shot in double straight-men exposure to roles in support of the Valdés brothers. At least Resortes make them and Clavillazo get some screen time, which cannot be said appear for most of the rest of the performers (aside from Marga “ethereal.” López), who flit on and off the screen without making any [María Victoria real impact. is credited as a Carnival spiritualist Ojitos bilks unwary customers with guest star, but I the technical assistance of Manitas. Seeking to spice up didn’t see her— his spiel, Ojitos reads a “magic” spell from a book and possibly I fast-forwarded through her appearance?] Marga conjures up the ghosts of British knight Sir Ludovico López doesn’t show up until a substantial portion of the Churchill and French Revolution-era fop François. The film has gone by, and chiefly (and awkwardly) fills the two spirits initially suffer culture shock upon role played by Ana Luisa Peluffo in Dos fantasmas y una transplantation to the 20 th century, but soon adjust and muchacha , i.e., the love interest of the two ghosts. At one begin enjoying themselves. This enjoyment includes point one of the spirits asks Berta to commit suicide so she playing pranks on can be with him forever, and she replies that suicide is mortals, flirting against her religion; nonetheless, at the end of the movie with the girlfriends the ghosts apparently kill her, because she turns into a of Ojitos and ghost herself and they leave together! [It’s unclear exactly Manitas, and what they do—Sir Ludovico and François inhale and Berta performing is suddenly incorporeal.] spectacular, As usual, the special effects are not very impressive, supernaturally- with heavy reliance on double exposure and stopping the enhanced musical camera so the ghosts can vanish and appear. The practical numbers on the effects are minimal, and mostly wire work, although a fake carpa stage. head is used on one scene to simulate the effects of the Ojitos and Manitas convince the ghosts to give them tips guillotine on François. A significant amount of footage on future events so they can establish a reputation as real was shot at what appears to be a real carnival (or else a clairvoyants: they successfully predict the outcome of a carnival set up on the studio’s back lot), but this mostly horse race, an earthquake, and a jewel robbery. results in arbitrary shots of rides and the midway and These predictions make Ojitos and Manitas famous, doesn’t play any major role in the action. but attract the attention of investigative reporter Berta In addition to Sandoval, who has the men arrested as frauds and possibly the sub-par accomplices of the jewel thieves. Sir Ludovico and special effects, François romance Berta and she changes her mind; Ojitos Los fantasmas and Manitas, with the help of their ghost pals, capture the burlones also jewel thieves and all is well. Berta joins Sir Ludovico and features some François in the spirit world. sloppy Los fantasmas burlones borrows two musical numbers continuity: in from Dos fantasmas y una muchacha , but—to its credit— one scene, Ojito modifies each one. A duet between “López” and “Pérez” and Manitas are 8

THE MEXICAN FILM BULLETIN Volume 19 Number 5 (Sept-Oct-Nov 2013) in court, wearing regular clothes, but in the next scene Mexican performers (Irma Lozano and José Alonso), and they’re in a jail cell wearing their “spiritualist” costumes. without the participation of Enrique Torres Tudela. The chronology of the trial and Berta’s conversion (via the Note: most of the information in this article came from time she spent with the ghosts) is also muddled. On a the invaluable Argentine website "Cinefania" here: broader scale, the movie changes direction several times, http://www.cinefania.com/terroruniversal/index.php?id=165 with the spirits originally presented as mischievous practical jokers (and thus a sort of menace) and later becoming the allies of Ojitos and Manitas (who eventually discover a spell to send them back, but don’t use it). Tin Tan and Loco Valdés work together well but don’t have the same chemistry they did in Dos fantasmas y una muchacha (in one scene in Los fantasmas burlones , they call each other “López” and “Pérez” and then mumble, “right, that was another movie”). Tin Tan uses an affected “British” accent and mixes English and ungrammatical Spanish for the entire film; this is annoying at first but one becomes accustomed to it. Neither he nor Loco Valdés has much character beyond the superficial trappings of their costume/accent (and when they don contemporary clothing, they lose even the first part of that distinction). Los fantasmas burlones is short enough and lively enough to deliver some mild entertainment, although it’s Edgar Allen Poe’s "The Oval Portrait" certainly not a “good” film by most standards. (Northwest Motion Picture Corp. & Maple Leaf International Pictures Ltd., ©1972) Prod : Enrique Torres Tudela; Dir : Rogelio González Jr. ; Scr : Enrique Torres Enrique Torres Tudela Tudela; Orig. Story : Edgar Allan Poe; Photo : León Enrique Torres Tudela was born in Peru in 1923. After Sánchez; Music : Les Baxter; Orch Dir : Julio Jaramillo; a career as a pop singer under the name "Ricky Torres," Song : Enrique Torres Tudela (“Haunted Love”); Assoc Torres Tudela turned to filmmaking in his native South Prod : Herman Allenbach, Verland Whipple; Prod Mgr : America in the mid-1960s. One remnant of his previous Ron Hudson; Asst Dir : Scotty Maitland; Film Ed : Dick life can be seen in the frequent use of Les Baxter music in Legrand, Sigfrido García; Art Dir : Victor Tudela; Stunts : his films: in the early Sixties, Ricky Torres recorded an John Wardlow; Spec FX : Dax Logan; Sound Rec : Enrique entire album of Baxter compositions, and even sang a Les Rodríguez Baxter song in the Argentine movie Los viciosos (1962). Cast: Wanda Hendrix ( Lisa ), Barry Coe ( Joseph Torres produced and often wrote a number of films shot Hudson ), Gisele Mackenzie ( Miss Warren ), Maray Ayres in Argentina and Peru in the '60s and '70s, including Un (Rebecca ), Barney O’Sullivan (? The Major ), Doris viaje al mas allá, La ruleta del diablo, Terror in the Buckinham ( Mrs. Buckinham ), Pia Shandel ( Regina ), Jungle , and Boda diabólica . In 1972 he collaborated with Doris Goldrich ( Doris, cook ), Bill Braden, Ivor Harris, Rogelio A. González Jr. on two films shot in Canada with Graham Crowell, Allen Anderson, Dax Logan, Jack mostly Canadian casts but many Mexicans behind the Ammon, George Spracklin, Jack Bowdery, Shanna camera: The Oval Portrait and One Minute Before Death . Dickson Among his financial backers were several wealthy Notes : although attributed to “Edgar Allen[sic] Poe,” Mormons from the Pacific Northwest. In the late 1970s The Oval Portrait borrows very little from Poe’s story of Torres Tudela produced another handful of films in that name, other than...an oval portrait. Much of the film Argentina, including Seis pasajes al infierno , Allá donde is a thinly-veiled pastiche of Daphne DuMaurier’s muere el viento , and La casa de las sombras , which “Rebecca,” where Lisa = the unnamed protagonist, Mrs. featured such former Hollywood stars as Yvonne DeCarlo, Warren = Mrs. Danvers (albeit a much friendlier one), and Tippi Hedren, John Russell, John Gavin and Mala Powers. Rebecca = Rebecca (except in The Oval Portrait she Torres Tudela reportedly had Mormon investors on these actually appears and has a major role in the story). films as well (although whether it was the same group as In post-Civil War America, Lisa and her mother, Mrs. on the Canadian-made films is unknown). Buckinham, arrive at a large country house occupied by Information available about The Oval Portrait and One Mrs. Warren. They are there for the reading of the will of Minute Before Death is often confused and the two films Mrs. Buckinham’s brother, the Major, who recently died; are sometimes listed as alternate titles for the same movie others will also attend. Lisa is strangely affected by the (which is incorrect). Curiously, director Rogelio A. oval portrait of a young woman that hangs over the mantle; González Jr. returned to Canada in March 1973 to shoot she later encounters Joseph, who first berates her for another movie, El hombre desnudo , but with a different driving “Rebecca” away, and later mistakes Lisa for crew (although some of the same cast members), two Rebecca when the former dons one of Rebecca’s gowns, 9

THE MEXICAN FILM BULLETIN Volume 19 Number 5 (Sept-Oct-Nov 2013) found in a closet. Mrs. Warren relates the story of necrophiliac son. You’d think she’d have noticed that Rebecca and Joseph to Lisa (in flashback): dried-up corpse in a wedding gown before this, but I During the Civil War, Rebecca lived in the mansion suppose not. with her father, the Major, who keeps her shielded from Wanda Hendrix, cast in a role seemingly intended for a the world: her mother ran off with another man, and the much younger woman, Major doesn’t want Rebecca exposed to immoral ideas. had a more age- Joseph Hudson, a Confederate officer, flees from a battle appropriate part in One (stock footage) and, wounded, takes shelter in the mansion. Minute Before Death , Mrs. Warren and Rebecca conceal him from the Major (a and the photography of Union officer) and from other Union soldiers searching the The Oval Portrait neighbourhood for the frankly does her no fugitive. When the favours (Gisele Major returns to active Mackenzie, a year older duty, Joseph emerges than Hendrix, actually looks younger in the film). Hendrix from hiding and paints performs adequately but has a smaller role than in One the portrait of Minute Before Death , while much more footage is given Rebecca, with whom this time to Mackenzie and Maray Ayres (who plays he has fallen in love. Rebecca). However, a clergyman The production values are adequate. Shot in the same procured by Mrs. house as One Minute Before Death with the same cast and Warren to marry the young couple instead betrays Joseph crew, The Oval Portrait looks alright, although (as one to the Union authorities. He is arrested and taken away. A reviewer commented) the high-key photography is not at pregnant Rebecca goes into labour just as her father all atmospheric or spooky. “Haunted Love” is heard returns: he locks her in a room and forbids Mrs. Warren to frequently on the soundtrack (in an instrumental version), provide assistance, resulting in the death of Rebecca’s and the rest of the score—by Hollywood veteran Les child. The Major has a stroke and is committed to an Baxter--is decent. asylum. A short time later, Joseph returns but Rebecca The Oval Portrait (or, to give it the full on-screen title, has just died, a result of her miscarriage. He digs up her Edgar Allen Poe’s The Oval Portrait ) is nothing special, corpse. [end flashback] but it manages to hold the viewer’s attention for most of its Mrs. Warren reveals the Major’s will left the mansion running time. to her. Lisa is possessed by the spirit of Rebecca. She and her mother depart. Mrs. Warren catches Joseph making out with Rebecca’s dessicated corpse. Admitting she is One Minute Before Joseph’s mother, Mrs. Warren shoots her insane son. In Death (Northwest death, Rebecca and Joseph’s spirits are reunited. [Wait, I Motion Picture Corp. & thought Rebecca’s spirit went into Lisa’s body?] Maple Leaf International The Oval Portrait isn’t a bad film, but it’s far from a Pictures Ltd., 1972) Prod : good one. The problems mostly result from the pacing and Enrique Torres Tudela; structure, although there is one major flaw in the basic Dir : Rogelio González Jr. premise as well. Scr : Enrique Torres The character of Rebecca is problematical: she’s a Tudela; Photo : León sympathetic character in the flashback sequence, but for Sánchez; Music : Les Baxter; Orch Dir : Julio Jaramillo; some reason is portrayed as a vengeful, evil ghost in the Song : Enrique Torres Tudela (“Haunted Love”); Assoc opening and closing sections. As noted earlier, she Prod : Herman Allenbach, Verland Whipple; Prod Mgr : apparently possesses Lisa’s body and leaves the mansion Ron Hudson; Asst Dir : Scotty Maitland; Film Ed : Dick (bidding Joseph “farewell forever”—why wouldn’t she try Legrand, Sigfrido García; Art Dir : Victor Tudela; Spec FX : to reconcile with him, convincing him that her spirit was in Dax Logan; Props : Jack Loholt; Sound Rec : Enrique another body?) but then her spirit is reunited with Joseph Rodríguez; Makeup Supv : Jim P. Nielsen; Stunts : John after he dies, a seeming contradiction. Wardlow The pacing of the film is uneven. The extended Cast: Wanda Hendrix ( Genevieve Howard ), Barry Coe flashback that consumes the middle section of the picture (Paul Howard ), Gisele Mackenzie ( Adelaide ), Maray is strictly melodrama, not fantasy: most of the Ayres ( Eda ), Ty Haller ( Robert ), Pia Shandel ( Laura ), “supernatural” content occurs in the final sections, with Doris Goldrick ( Myra ), Terrance Kelly, Doris Buckinham one brief sequence of poltergeisty phenomena, as well as (Sara ), Leanna Heckey (? Jenny ), Pamela Allen, Jack double-exposed ghosts, possession, and corpse-hugging. Ammon, Dax Logan, Ivor Harris, George Spracklin, The final section—after Lisa and her mother leave the Shanna Dickson, Allen Anderson mansion--is also padded mercilessly with pointless, time- Notes : One Minute Before Death is a not very wasting footage, including fantasy scenes of a dance, just interesting period drama with a final “twist” ending that to get to the twist ending where Mrs. Warren kills her 10

THE MEXICAN FILM BULLETIN Volume 19 Number 5 (Sept-Oct-Nov 2013) makes no particular sense (not that much of the preceding Genevieve looks on, helplessly (why her eyes were left footage is very sensible, either). open is never explained, and why her eyeballs didn't dry Genevieve Howard is startled by a mysterious figure in out after at least a day or two without blinking is also a black and falls down a staircase in her home, apparently great mystery). The performances range from amateurish killing herself. But no, she’s actually in a catatonic state, to slightly less-amateurish to passable. Wanda Hendrix and can see (because nobody bothered to close her eyes) was in her early forties and looks it, but is satisfactory; and hear everything that goes on around her, but is unable Maray Ayres and Pia Shandel are too similar in to move or speak. Placed in a coffin (eyes still open, and appearance; Gisele Mackenzie, primarily a singer, has little fortunately not subjected to embalming), Genevieve to do (her role in The Oval Portrait is much more watches as her relatives parade in and out prior to the substantial). The production values are adequate: the funeral, discussing what they think about her and each majority of the film takes place in a single house, but it other. looks sturdy enough. The cinematography by León Genevieve had married Steven, a much older man, but Sánchez is much too high-key to generate any atmosphere, didn’t love him. After Steven’s death, she married Paul but since this isn't really a horror movie (or even much of a Howard. Paul, however, is having an affair with the maid, thriller), that's not a serious flaw. Les Baxter's score is Eda. Genevieve had two stepsons, David (decent fellow) alright although the theme "Haunted Love" (by producer and Greg (money- Torres Tudela) is heard too often. hungry). Greg is married A very slight effort, with nothing special to recommend to Laura, who is in the it. process of divorcing him and flirts with Paul. Also present are Genevieve’s La metralleta infernal [The Infernal sisters Adelaide and Machinegun] (Pels. Mexicanas en Video-Víctor Films, Myra, mostly interested in ©1990) Exec Prod : Genevieve’s jewels and Javier Garza; “Carlos other possessions, and housekeeper Sara and her Vasallo presents” ; granddaughter Jenny. Dir : Juan Manuel Paul murders Laura and hides her corpse, after she Herrera; Adapt : M. threatens to expose his Cárdenas; Story : relationship with Eda. Julián Garza; Photo : Jenny’s cat causes the Juan Manuel Herrera; allergic Genevieve to Asst Dir : Ana Virginia sneeze and blink, but López, Yolanda Álvarez; Film Ed : Francisco Chiu; Mkup : no one believes Jenny's Esther Álvarez; Dialog Rec : Daniel García; Sound Engin : story. Paul sees his Efrén Rojas; Re-rec & Sound : René Cerón; Union : “dead” wife shed a Técnicos y Manuales tear, but seals up the Cast: Edgardo Gazcón ( Román ), Luis Aguilar ( Cmdte. coffin and has her Luis ), Claudia Guzmán ( Nancy ), Hilda Aguirre ( Diana ), buried anyway. Later, he has visions of both Laura’s body Julián Garza ( Juan el Tahur ), Jesús González “Chis Chas” and Genevieve, which cause him to become hysterical and (La “Cuachanga” ), Luis Garza, Juan Martínez, Octavio confess his crime. Genevieve reappears: Jenny had Castillo, Lombardo Higuera, Jaime Luna, Jaime Garza, convinced Sara that she was alive, and the housekeeper Rubén Doria, Rodrigo Nuñez, Roberto Cardona, Silvestre ordered Genevieve to be Muñoz, Los Tambiroleros de Linares, Hnos. Hinojosa, Los exhumed and revived. Grandes de Linares, Claudia Nely y sus Norteñitas, Javier Everyone apologises for Rios of Los Invasores de Nuevo León their bad behaviour. Then-- Notes: although this film pays lip service to being a in an illogical and pointless fantasy film, it’s not. In the framing sequences, police twist ending--Genevieve commander Luis shows some reporters a “cuerno de wakes up in the night, is chivo” (an AK-47 frightened by several black- assault rifle), won’t clad figures, and falls down let them touch it the stairs to her death! Paul and Eda remove their black because it’s “cursed” cloaks and congratulate themselves on her murder. Wait, and holds a strange what? So everything we saw was...a dream? A flash- power over anyone forward? Something Genevieve "saw" in her "one minute who uses it, and tells before death?" This is really confusing and stupid. them the story of One Minute Before Death is mildly entertaining at Román...which has times, although it's essentially just a melodrama with no fantasy aspects at all! At film’s end, the diabolical AK- various scheming family members acting badly as 11

THE MEXICAN FILM BULLETIN Volume 19 Number 5 (Sept-Oct-Nov 2013) 47 vanishes from its spot on the wall of the police but don’t seem especially inspired to work hard in a film of station...ooh, spooky. this quality). The plot is threadbare and doesn’t create any Nothing particularly “fantastic” occurs when Román sympathy for anyone. The production values are minimal; gets the weapon: he’s just emboldened to finally stand up nothing is particularly amateurish, but the whole movie against people who were mean to him, but his personality looks cheap and crude. doesn’t change, he Something better (not necessarily good, but better than physically doesn’t change the existing result) could have been created from the (I thought I remembered source material, but it appears no one was interested in (or his facial scars vanishing capable of) doing more than making a cheap and simple- but they don’t), and he minded film. never acts as if he’s “possessed” by the weapon. When his step- Attack of the Mayan Mummy (ADP Productions, brother Julián has the gun, ©1964) “Jerry Warren presents...” Dir : Jerry Warren; he doesn’t act any Scr : Gilbert Solar [sic], differently either. I call Alfredo Salimar [sic]; Photo : shenanigans on Cmdte. Luis and his story of the “curse” of Richard [Enrique] Wallace; the AK-47. Music Dir : Anthony Román is a young man whose face was scarred as a [Antonio Díaz] Conde; Prod toddler in a kitchen accident. He works as a janitor in a Des [sic = Prod Mgr]: Luis bank, brings a rose each day to bank clerk Nancy, and de León; Unit Mgr : Joseph plays the guitar. Román lives with his overbearing step- Alcalde; Prod Asst : Michael brother Julián, a gambler who inherited all of the family’s Delrod; Film Ed : Jerry wealth and never misses a chance to insult or berate Warren, Jorge Bustos; Set Román. Julián has a girlfriend, Diana, who also mistreats Design : Mala Winter; the hapless Román. One night, Julián takes an AK-47 Makeup : Lester Andre from the corpse of a mysterious (Asian?) man killed in an [George Mitchell]; Lighting : accident while Richard Knox; Sound Rec : pursuing Julián’s Guy Stafford truck. Julián uses Cast: Nina Knight, Richard Webb, John Burton, Peter the assault rifle to Mills [ note : these names are probably pseudonyms for shoot some men Rosita Arenas, Ramón Gay, and others from the original he believes have film], Steve Conte ( hired thief ), Jorge Mondragón ( head of cheated him in a scientific association ), Emma Roldán ( does not appear ), card game. George Mitchell ( Dr. Frederick Munson ), Chuck Niles However, (Douglas Bank ), Bill White, Fred Hoffman ( Det. Román gets the Hammond ), Bruno VeSota ( newspaper editor ); unbilled gun and shoots Julián, then drives to the bank where he cast from original film (with new character names) : kills several guards who’d previously mocked him, steals Ramón Gay ( Dr. Edmund Redding), Rosita Arenas ( Ann some money, and abducts Nancy. Julián is only wounded, Taylor ), Crox Alvarado ( Redding’s ass’t .); conference and he and Diana set out to catch Román; the police also attendees : Luis Aceves Castañeda, Julién de Meriche, pursue him. Eventually, it is the police who find him first, Salvador Lozano; Jaime González Quiñones ( Timmy ), shooting the young man to death. Ángel di Stefani ( Popoca-mummy ), Estela Inda ( Aztec La metralleta infernal is a poor film overall. Fans of singer ) norteño music might enjoy the numerous musical Notes: Another of Jerry Warren’s cut-and-paste numbers, but otherwise there is little to recommend it, no versions of a Mexican film. Slightly more than half of sleaze, no outrageous unintended humour, no suspense or Attack of the Mayan Mummy 's running time is new footage thrills. The performances of the principals are adequate featuring George but not much more than that: Edgardo Gazcón is mildly Mitchell, Chuck sympathetic as Román but the script doesn’t develop his Niles, Bruno character enough. Román’s relationship with Nancy is VeSota, and a odd: in the first part of the film she seems to appreciate his handful of other devotion but has no romantic interest in him, then she’s actors employed by (mildly) frightened when he kidnaps her (after shooting Warren, while the several people in cold blood), and eventually shows some rest of the scenes are fondness for him during their flight, but none of this is from La momia very clearly delineated. Julián Garza and Hilda Aguirre azteca . Only in the play their roles very broadly, as does Luis Aguilar (the final 10 minutes of latter two displayed some acting talent in previous films, the picture is there any attempt at intercutting the new/old 12

THE MEXICAN FILM BULLETIN Volume 19 Number 5 (Sept-Oct-Nov 2013) footage: otherwise, Warren alternates long chunks of [New footage:] A newspaper headline screams “ANN dialogue scenes shot in a “newspaper office,” a “TV TAYLOR DEAD; MUMMY DESTROYED,” but editor studio,” a “malt shop,” and someone’s house, with the Bruno tells Munson they don’t have enough proof to run more elaborate Mexican footage. The result is a somewhat the story, even though the newspaper spent $200 (!) on boring movie, which inexplicably downplays the titular making up the front page. Luckily, he adds, you can melt monster in favour of extended conversations about politics down the lead print and use it again. and double-dealing in the scientific community. Perhaps Attack of the Mayan Mummy is boring but the Warren- Warren didn’t think the original movie contained enough shot scenes have their own bizarre charm. George “monster” footage, but the material he inserts instead is not Mitchell is actually rather good as Professor Munson, as is exactly compelling. whoever plays Dr. Janney (Bruno VeSota is adequate). To [New footage, almost 8 minutes’ worth:] Dr. be sure, their conversations are often senseless and are Frederick Munson tells his shocking (yeah, right) story to a never in any way appropriate for a movie about newspaper editor. Deposed as head of the Cowan reincarnation and/or a murderous mummy, but this is part Research institute in Pasadena after the death of his sister, of their attraction: anybody could have thrown together Munson was replaced by Dr. Edmund Redding. Redding some scenes with people making inane comments about also took over the case of Ann Taylor, the subject of a the "monster" footage, but Warren comes up with a past-lives regression study. [Mexican footage, although completely different plot involving Munson and Dr. narrated by Munson:] Dr. Redding infuriates a group of Edmund Redding's scientific rivalry. Some of their scientists at a conference when he refuses to discuss his dialogue is so convoluted and odd that it almost becomes research. [New footage:] Munson and his colleague Dr. amusing. John Janney discuss The two biggest problems with the film are (a) it's not Redding and Ann really any good as a horror movie, and that's how it was Taylor, and conspire sold, and (b) the cheat ending (the mummy and Ann to regain control of Taylor hit by a car off-screen) is so colossally stupid that I the experiment, wouldn't blame audiences if they rioted in the cinemas. which may very Speaking of this, the poster for the movie is "adapted" likely result in the from the poster for The Pharoah's Curse (1957), which recovery of a seems a little daring on the part of Jerry Warren, but fabulous amount of perhaps he simply didn't care. Warren's filmography is ancient treasure. one of the strangest in Hollywood: he seems to have gone [Mexican footage, to a lot of unnecessary trouble to embellish the foreign narrated by Munson:] Redding decides to press on with films he purchased (or perhaps he looked at it as the his work, despite the dangers. [New footage:] Munson foreign scenes supported his footage), with notably poor visits a malt shop (his horrified and uncomfortable results. reactions to the various dancing teenagers are hilarious to see) to meet with Timmy, his nephew (and Redding’s step- son), who is his “mole” in Cowan Research. But Timmy El Fantástico vs. El Nahual (FDI Cinema, ©2009) has been grounded and so Munson has a conversation Prod-Dir: Christopher Luna; Scr : Alejandro García; instead with Timmy’s girlfriend and her pal. [Mexican Story/Orig. Idea : Christopher Luna; Photo : Aram Díaz footage, some of which is actually dubbed:] Redding Cano; Music : Esteban “Crunchy” López (Primitiv hypnotises Ann and regresses her to Aztec days. [New Records); Assoc Prod : Erick Villanueva, José Sarro; Prod footage:] A newscaster reports on the Redding Mgr : Cristián Gijón; Asst Dir Marcelo Rubio Quintal; Film expedition’s departure for Yucatán. [Mexican footage; Ed : Alejandro this is the longest continuous piece of original footage, García; Art Dir : over 17 minutes:] Redding, Ann, and an associate enter Noé Díaz the pyramid; Ann has a flashback to her life as an Aztec Quintero, Ariel princess; the treasure room is discovered; the mummy Chávez; FX : Óscar revives and grabs Dr. Redding. [New footage:] Redding is Tello; Audio : reported dead, but the mummy was subdued by gas and Galileo Galaz; brought to Pasadena for study (none of this is seen, of Makeup : Ricardo course). Dr. Janney hires a thief to steal the mummy, with Martínez, Aldo Munson’s tacit agreement. The police interview the García; Mechanical Nahual : Iván Castillo Gómez, Ricardo Cowan Research staff and Munson. The thief enters the Chávez Soriano; Digital Nahual : Óscar Tello lab and is confronted by the mummy, runs away, falls Cast: Rogelio Guerra ( don Ángel ), Ivonne Montero down, and knocks himself out. [Mexican footage:] The (Yadhira ), Julio Casado ( Dionisio ), Roger Arroyo mummy leaves the lab, goes to Ann’s house, grabs his (Chema ), Raymundo Pastor ( Juan ), Moisés Iván Mora artifacts and abducts Ann. [New footage intercut with (Julio ), José Antonio Coro ( Padre Miguel ), Rubén García Mexican footage:] The thief wakes up, drives down the Barreda ( El Fantástico ), Osvaldo Estrella ( Mini street wildly, and (apparently) hits the mummy and Ann. Fantástico ), María Barracuda ( first woman in danger ), 13

THE MEXICAN FILM BULLETIN Volume 19 Number 5 (Sept-Oct-Nov 2013) Lulú Giner ( second woman in danger ), Joaquín Sanz vintage sports car out of the garage, a nice touch) to save (vampire ) his friends and the town. Notes: El Fantástico vs. El Nahual has both positive So, basically, there is no nahual in the film, except and negative aspects. On the positive side, it’s about a Dionisio posing as one (and one in a brief dream sequence retired masked wrestler/movie star and features some with Chema). This is kind of a rip-off. El Fantástico vs. amusing re-created clips (in sepia-tone) from his old films. el Nahual makes up for it (slightly) by what seems to be a On the negative side, this is a “fake monster” story and not genuine fondness for the lucha -film genre. Still, a lot even a very good one at that (it’s more like a rural- more could have been done with the basic premise. romance telenovela , and the senior This was copyrighted and released on DVD in 2009, citizen-wrestler doesn’t put on his but it was apparently made in 2006, since a teaser trailer costume until the last 10 minutes). was posted on YouTube by the director in early 2007 The film was shot in a small town (there is also a “Making Off” [sic] video available there). in the state of Hidalgo but the Rogelio Guerra was not a major lucha film star, majority of the scenes take place although he did appear (but not always as a wrestler) in in a mere handful of nondescript Los leones del ring, Los leones del ring contra la Cosa locations, and there’s not much Nostra, Una rosa sobre el ring, La corona de un campeón, real sense of place, nor any Las momias de San Ángel , and Ángel del silencio in the especially picturesque buildings or 1970s. He’s pretty good in El Fantástico vs. el Nahual , scenery. Production values are although the script unfortunately spends more time on minimal: although there are no other characters. For much of the 2000s, Guerra’s legal special technical flaws, this looks like what it is, a battles with TV Azteca were legendary: he initially won a videohome shot entirely on location on a very limited breach of contract lawsuit against the company, then was budget (I’d guess Rogelio Guerra and Ivonne Montero’s counter-sued and ordered to pay a huge sum of money and salaries were the biggest items). The performances are was even prohibited from acting under his own name! adequate: Guerra and Montero are the main “names,” but These issues have finally been resolved and the actor has Julio Casado, Roger Arroyo, and Raymundo Pastor are been quite busy working on telenovelas over the past also satisfactory in their roles. The music score is quite several years. good, consisting of “surf music” style instrumentals. Don Ángel, formerly masked luchador “El Fantástico,” and his little-person assistant Chema (“Mini Fantástico” in their previous life) live in a small Mexican town and run the tiny “Cine El Fantástico,” which shows 16mm copies of the masked wrestler’s old movies to the town’s children. Yadhira, a young woman whose late mother was don Ángel’s neighbour, returns to town after a failed attempt to succeed in the “big city.” Her former boyfriend Juan gives her the cold shoulder—later, it’s revealed he visited the city and saw her working as an exotic dancer. The Mexican The town fears the The Mexican depredations of the legendary film Bulletin Nahual , a shape-shifting is published 6 times a year by monster. Juan, his pal Julio, David Wilt, 6803 Dartmouth and don Ángel believe Ave, College Park MD someone is taking advantage 20740 USA. Contents 2013 of the villagers’ superstitions by David E. Wilt except for to commit crimes like cattle material already copyrighted. rustling. The chief suspect is

Dionisio, the crooked police Read MFB online at: chief. After Dionisio abducts www.terpconnect.umd.edu/~dwilt/mexnews.html Juan and Yadhira, intending to burn them alive, don Ángel dons the costume of El Fantástico (and rolls his stylish

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