THE MEXICAN FILM BULLETIN Volume 19 Number 6 (December 2013) The Mexican Film Bulletin

Volume 19 Number 6

December 2013

Juan Peláez Mexican Cinema in 2013 Juan Peláez, a stalwart character actor from the 1970s 2013 was a fairly successful year for Mexican cinema. through the 2010s, died of complications from cancer on According to IMCINE, 99 films (73% fictional features) 23 November 2013. Juan were released during the year. One-third of the fictional Fernández Peláez was born in films were by first-time directors, and 20% were directed Mexico City in December 1948; by women. The total attendance in Mexican theatres his parents were refugees from increased by 12.5 percent, and the cine nacional accounted the Spanish Civil War. After for about 11% of the total box-office earnings. studying acting at UNAM, Five Mexican movies were seen by more than one Peláez made his professional million spectators: No se aceptan devoluciones (#3 overall, debut in Jóvenes en la "Zona with over 15 million tickets sold), Nosotros los Nobles (#7 rosa" (1968). He worked in overall), Amor a primera visa (aka Pulling Strings , #30 many films--among them overall), No sé si cortarme las venas o dejármelas largas , Aquellos años, Las noches de and El cartel de los sapos . [Note: this information comes Paloma, Días de combate, El hombre de la mandolina, El from IMCINE, but boxofficemojo.com doesn't list No sé si fiscal de hierro, Licence to Kill and Zapata--el sueño del cortarme las venas... at all.] héroe —over during the next 5 decades, but in the 1990s began to devote more time to telenovelas and mini-series. Peláez also acted in more than 100 stage plays. Obituaries Karla Álvarez Rossana Podestá Actress Karla Álvarez Báez died on 15 November 2013 Italian actress Rossana Podestá died on 9 December at her apartment in Mexico City, apparently after choking 2013; she was 79 years old. Carla Dora Podestá was born on some food. Álvarez was born in Libya to Italian parents in August 1934. She made her in Mexico City in October 1972. film debut in 1950. After After initial training as a dancer, roles in several Italian she joined the Televisa school for features, Podestá was cast actors, the Centro de Educación by Emilio Fernández in Artística. In 1992 she made her La red (1953); she later television debut and over the next worked for him in the two decades became one of the Spanish-shot Nosotros more popular villainesses in dos (1954), and in the telenovelas such as "María Mexican-Spanish Mercedes," and "La mentira." She coproduction Playa also participated in one season of "Big Brother VIP" and prohibida (1955), appeared on other television shows, although her career directed by Julián Soler. was hampered by scandal due to her alleged abuse of Podestá's international alcohol. On the big screen, Álvarez had a role in Paco del career included films Toro's La Santa Muerte (2007). such as Ulysses (1954) Peter O'Toole with Kirk Douglas, Actor Peter O'Toole died on 14 Robert Wise's Helen of Troy (1956), Santiago (1956--with December 2013 in a London hospital; Alan Ladd), and Raw Wind in Eden (1958, opposite Esther he was 81 years old. O'Toole was born Williams and Jeff Chandler). She continued to appear in in Ireland (or perhaps England) in 1932, Italian cinema until the mid-80s. and began acting professionally in the Rossana Podestá was married to Italian actor Marco 1950s after attending the Royal Vicario (her co-star in Nosotros dos and Playa prohibida ) Academy of Dramatic Art. He starred from 1953 to 1976. From 1981 until his death in 2011, in Lawrence of Arabia (1962), which Podestá was the life partner of Italian journalist Walter shot him to international fame. Although O'Toole was Bonatti. nominated 8 times for Oscars, he never won the prize in competition, although he did receive an honorary

1 THE MEXICAN FILM BULLETIN Volume 19 Number 6 (December 2013) Academy Award in 2003. O'Toole officially retired from acting in 2012. Rossana Podestá Films His sole Mexican film appearance came in Arturo La red [The Net] (Reforma Films, 1953) Exec Prod : Ripstein's Foxtrot (1975), a Mexican-British coproduction Felipe Suberville; Prod : filmed in English on location in Mexico. Salvador Elizondo; Dir : Emilio Fernández; Scr : Other Obits Emilio Fernández, Neftalí Although I attempt to report obituaries as promptly as Beltrán; Photo : Alex possible, not every entertainment industry passing is Phillips; Music : Antonio reported in the Mexican newspapers I read online. Several Díaz Conde; Prod Chief : 2013 deaths I missed were: Armando Espinosa; Asst Miguel Ángel Ferriz nieto : Dir : Jaime L. Contreras; grandson of the well-known Golden Film Ed : Jorge Bustos; Art Age actor of the same name, actor Dir : Jesús Bracho; Makeup : Miguel Ángel Ferriz died on 6 Elda Loza; Dialog Rec : February 2013 of complications from Luis Fernández; Music Rec : pneumonia. Ferriz was born in 1950 Rafael Ruiz Esparza and made his screen debut in the 1970s, Cast: Rossana Podestá ( Rossana ), Crox Alvarado appearing in films like El llanto de la (Antonio ), Armando Silvestre ( José Luis ), Guillermo tortuga, El mar, El cumpleaños del Cramer ( Cmdte. Jesús Rivera ), Carlos Riquelme ( sponge perro, and Ángela Morante, crimen o buyer ), Margarito Luna ( friendly man in cantina ), suicidio? He was nominated for a Best Armando Velasco ( priest ), Lilia Fresno, Emilio Garibay Actor Ariel in 1984 for his role in El tonto que hacía (policeman ), Antonio Bribiesca ( Macario, guitarist ), milagros . Ferriz had continued to work in telenovelas Manuel Vergara “Manver” ( cantinero ), Hernán Vera until at least 2012. (shopkeeper ), Rogelio Fernández ( lustful villager ) Pepe Romay: actor Pepe Romay (José Antonio Notes: although Italian actress Rossana Podestá did not Rodríguez Mas), best-known for precisely make her film debut in La red , this tropical appearing in numerous films melodrama helped establish her as a “sexy” international directed by his father Joselito star. Her costume—extremely flimsy blouse, tattered Rodríguez, died of a heart attack skirt—was prominently featured in advertising for the on 4 September 2013. Romay picture. Podestá, Alvarado, and Silvestre have very little was born in August 1948, and in dialogue in La red (the film was recognised at the Cannes the 1950s and 1960s appeared-- Film Festival for “Best Visual Narration”)—Podestá may often with his sister Titina--in have been post-dubbed, since her spoken Spanish has no films such as Pepito y el discernable “foreign” accent. monstruo, Pepito as del volante, Antonio and José Luis are surprised in the midst of a Ánimas Trujano, El misterio del Huracán Ramírez, El hijo burglary attempt; José de Huracán Ramírez, and De sangre chicana . He won an Luis is wounded and Ariel as Best Child Actor for Después de la tormenta and tells Antonio to leave was nominated two additional times. Romay also directed, him behind and escape. wrote and produced films and videohomes in the '80s and Antonio returns to the '90s. isolated, cliff-top hut he According to year-end news accounts, the following shares with Rossana. members of the Mexican entertainment industy also passed They make their living away in 2013: Jaime Brizi, Otilio Aguilar Aguilar, José by selling the sponges Luis Ramírez Olivero, Roberto Casso, Guadalupe Márquez Antonio harvests from Ruíz, Francisco Valdez Fellove “El gran Fellove," Rodolfo the sea—Rossana is the Vélez, Mariano Franco Moreno, Josefina Mirón, Rocío only one who goes into Fernández, Rodolfo Farcurg, José García Olarte, Miguel the nearby village to buy supplies, although the villagers Ángel Torres, Diego Chaires, Anita Muriel, Vicky Marty, are friendly and not disposed to inform the authorities. Roel de la Serna, Blanca Morones, Alicia Ravel, José One day José Luis arrives, having escaped from the penal Manuel Díaz, Mario Marenco, Martha Papadimitiou, and colony on the Islas Marías. Rossana is not happy to see Eloy del Carrillo. At least two of these performers--Alicia him, explaining to Antonio that she once had an affair with Ravel and Anita Muriel--had careers dating back to the his partner in crime. Antonio strikes Rossana, prompting mid-1940s. Muriel was nominated for a Best Supporting her to decide to leave—however, José Luis insists that he Actress Ariel for her role in El secreto de Juan Palomo , be the one who goes. and Ravel was married to director Jaime Salvador. Stopping in the village for a drink, José Luis confronts several policemen/bounty hunters, and kills them both, but is badly wounded himself. The villagers dispose of the bodies and take José Luis back to Antonio & Rossana’s 2 THE MEXICAN FILM BULLETIN Volume 19 Number 6 (December 2013) hut, where he gradually recovers from his injuries. He and aforementioned “laughing” scene) she seems stiff and Rossana fall in love, which precipitates a fight between amateurish, but most of the time she’s adequate or slightly Antonio and José Luis. Rossana tosses their rifles off the better, when she’s not just an attractive blank slate upon cliff into the sea to prevent either man (but especially which the desires of the other characters are projected. Antonio) from After his first two films as a director (photographed by using them, but Jack Draper), Emilio Fernández worked with Antonio—who cinematographer Gabriel Figueroa on 20 of his next 22 loses the films, including his most famous pictures (María argument— Candelaria, La perla, Río Escondido , etc.)—Alex Phillips goes into town shot 1945’s and steals a Pepita rifle from a Jiménez (the storekeeper. only He returns to Fernández the hut and movie not set spots José Luis in Mexico, and Rossana on until La rosa the beach. Antonio shoots and kills Rossana but is then blanca in shot to death by police commander Rivera, who followed 1953), and him from town. José Luis picks up Rossana’s body and Jack Draper walks into the surf. was reunited Without a lot of dialogue, there isn’t a lot of character with the development in La red , and we aren’t given any detailed director for the rare Fernández comedy, Acapulco (1951). back-stories of the protagonists. While José Luis is off- One would think Figueroa would have been the natural screen, Antonio seems like a pleasant enough fellow and choice to shoot for La red , given that the majority of the Rossana appears happy to be with him, but the film tips the film was filmed on actual locations, but for some reason scales in José Luis’s favour by (a) having Antonio Alex Phillips was hired as the director of photography. physically abuse Rossana, (b) making José Luis act in a His work is actually quite good, and while Gabriel more or less noble fashion (agreeing to leave, then later Figueroa would work with Emilio Fernández again, their defending Rossana almost exclusive relationship was broken. against a lustful [Ironically, Figueroa—who had won 4 Arieles for his villager). Also, while work with Fernández—took home the prize in 1954 for El Crox Alvarado was a niño y la niebla , directed by Roberto Gavaldón, winning leading man in a over Phillips for La red and Agustín Jiménez for El bruto .] number of movies Alex Phillips’ work on La red is nothing to be ashamed from the mid-40s into of: perhaps he includes fewer of the self-consciously the early Fifties, he artistic “silhouettes against the sky” that were Figueroa’s was not as trademark (although there are in fact a few of these in the conventionally movie), but the camerawork is still fine. The natural handsome as scenery provides an evocative background for the human Armando Silvestre and when the two are seen together, melodrama. Alvarado looks much more brutish. Emilio Fernández remade La red as Erótica (1978), his Unfortunately, the director’s apparent desire to tell his final film as director. Rebeca Silva, Jorge Rivero, and story with a minimum of dialogue (although this doesn’t Jaime Moreno replaced Podestá, Silvestre, and Alvarado, necessarily seem artificial or forced, and there’s no attempt respectively. The second version follows the plot of the to convey some of the more complex plot points visually) first very closely, adds colour photography and some results in scenes which go on too long and become (although not a huge amount) of nudity, but is not an repetitive and boring. For example, Antonio and José Luis especially memorable picture. La red was widely dive for sponges (handing them to Rossana, perched on distributed internationally in the Fifties, including a USA rock) in a sequence that feels as if it goes on forever . release by Fine Arts Films as Rosanna . Apparently, this is intended to convey Rossana’s dilemma, torn between two lovers. In another, awkward scene, Rossana and Antonio laugh together at nothing, in a very Nosotros dos [We Two] (Diana Films-Unión Films, forced and clumsy attempt to show how happy they are 1954) Prod : Salvador Elizondo; Dir : Emilio Fernández; together, or something. Scr : María Luisa Algarra, Enrique Llovet, Emilio The performances in La red are satisfactory. The Fernández; Photo : Alex Phillips; Music : Isidro Maiztegui; paucity of dialogue holds down the melodrama a bit, Prod Chief : José María Rodríguez; Asst Dir : José María although Crox Alvarado chews the scenery ferociously in Espinosa; Film Ed : Antonio Gimeno; Art Dir : [Francisco] the latter sections of the picture. Rossana Podestá is more Pina y López; Sound Engin : Antonio Alonso difficult to evaluate: occasionally (such as in the 3 THE MEXICAN FILM BULLETIN Volume 19 Number 6 (December 2013) Cast: Rossana Podestá ( María Pedrosa ), Marco Beto later marries María. Lupo comes to the shop on their Vicario ( Beto Áviles ), Tito Junco ( Lupo Áviles ), José María wedding night and tries to sow dissent between the Lado ( Carlos Áviles ), Irene Caba Alba ( Francisca newlyweds. A fight breaks out between the two Pedrosa ), Félix Fernández ( old drunk ), Santiago Rivero brothers—María shoots and wounds Lupo to save her (judge ), Julio husband. Beto is unsure if María married him for security Gorostegui, Jesús or for love. To prove her point, María gives away all the Rancaño, Julia contents of the shop. Beto and María prepare to face the Delgado Caro future alone. (Antonia ), Félix Nosotros dos , while it has certain elements of standard Briones ( mayor ), melodrama—the “Romeo and Juliet” romance is a familiar Elvira del Real one—confounds (Socorro ), Emilio expectations in other Rodríguez ( customer ), ways. Francisca and Anibal Vela, Ángel María win their court case Álvarez ( customer ), at the film’s outset, for Julia Caba Alba? example: in another film, Notes : after La red they’d lose and the film (1953), Emilio would revolve around Fernández’s their efforts to reclaim directorial career their inheritance. began a noticeable Additionally, the village decline. For the first itself welcomes the newcomers, and instead of “everyone time, he ventured outside Mexico to make films, working against the two women,” the conflict is between the Áviles in Cuba ( La rosa blanca ), Spain ( Nosotros dos ), Argentina family (especially the bitter patriarch, Carlos) and the two (La Tierra de Fuego se apaga ), and Guatemala ( Paloma Pedrosas, with the villagers remaining more or less neutral herida ). These movies—and those he made in Mexico in (doing business with both families). One might have the latter half of the Fifties and early Sixties—were not expected more physical confrontations, sabotage, violence, necessarily bad, but they failed to achieve the same critical but the whole feud is played out in a very civilised manner, and popular success as his previous projects. and even Lupo’s brawl with Beto at the end seems to be Shot in and set in Spain, Nosotros dos is a very the result of excessive drinking. interesting film which has little or no “Mexican” flavour. These factors result in a somewhat understated film, Fernández imported his Italian star from La red , Rossana more of a drama than a melodrama (that is, conflict Podestá, actor Tito Junco (who plays a Spaniard and could internalised rather than externalised). The backstory is have easily been replaced by a Spanish actor), and only hinted at, rather than clearly stated, and the relations cinematographer Alex Phillips, but the rest of the cast and between the characters are complex. Whether Carlos was crew were Spanish, with the exception of Italian actor telling the truth about being cheated by Francisca’s father Marco Vicario (Podestá's husband, not so coincidentally). is immaterial: he refuses to accept the judge’s verdict as Francisca Pedrosa and her grown daughter María just, and persists in his grudge against the two “outsiders,” return to Francisca’s home village in Spain after the death when it would have been more logical to simply go on of her husband. Francisca learns her wealthy father is with his life. Carlos browbeats (and literally beats ) his son dead; she inherits his properties, although Carlos Áviles Beto, while the older Lupo seems to passively accept his sues, claiming the dead man had agreed to sell out to him, father’s direction. Francisca is a resilient woman, then arranged to have him robbed of the purchase price. In uncowed by the hostility of the Áviles and determined to revenge for losing the lawsuit, Carlos refuses to sell the succeed. María is innocent—in one sequence, she spots a Pedrosas anything from “sick” sheep and runs to Beto for assistance, only to his shop, the only one in discover the animal was pregnant and is about to give birth the village. Francisca to a lamb. retaliates by opening a The only major aspect of the film which rings false is store and bar of her when Beto begins to own, infuriating Carlos. doubt María. He’s Meanwhile, María stuck by her despite his helps care for the family father’s opposition, but flock of sheep, and in after they’re married the doing so comes in statements of his father contact with Beto, the and Lupo affect him, younger son of Carlos Áviles. They fall in love. Lupo, and while he maintains Beto’s brother, learns of the romance and forces himself he loves María, he’s on María one night (it’s unclear if “anything” serious unsure if she loves him happened before they’re interrupted by Francisca). or if she’s manipulating him for her own goals. Even after Francisca dies; Carlos forbids Beto to attend the wake, but she divests herself of her “wealth” (the contents of her 4 THE MEXICAN FILM BULLETIN Volume 19 Number 6 (December 2013) shop), he hesitates before declaring his confidence in their both La red (notably the beach setting) and Nosotros dos , future as a couple. This feels a little out of character since Playa prohibida is actually a whodunit with a tricky Beto has previously been stalwart and unbending in his narrative structure rather than a melodrama, and thus not support of María. especially suited to the directorial style of Fernández. The performances in Nosotros dos are very good on the Julián Soler, on the other hand, was a competent whole, although ironically supporting players Irene Caba journeyman director of various genres and turns in an Alba (as Francisca) and José María Lado (as Carlos) are acceptable job here. most impressive, with Rossana Podestá and Marco Vicario A group of children find a man’s body on a beach; they turning in satisfactory but comparatively bland work. Tito flag down a passing motorist, Arturo. He uses the Junco doesn’t have much to do in the first half of the telephone at a nearby gas station—operated by Juan—to picture, but gets several good scenes in the latter sections. call the police. Arturo is a screenwriter in search of The production values are adequate. The film appears “inspiration.” He spends the night at the gas station and to have been shot largely on location, and the vistas of the Juan tells him his story... arid Spanish countryside are impressive: there are a few nice bits of scenery, but mostly this is a harsh land and the photography reinforces this concept. Unlike, for example, La red , there aren’t many artistic compositions showing the majesty of nature. Nosotros dos is a solid drama that makes excellent use of its Spanish setting. While some recognisable Emilio Fernández themes can be discerned, this film is a distinct departure from his Mexican movies. Playa prohibida [Forbidden Beach] (Diana Films- Unión Films, 1955) “Fernando de Fuentes presents...” Prod : Salvador Elizondo; Dir : Julián Soler; Adapt : Julián Soler, Juan Juan, a newcomer to the region, wanders onto the Antonio Bardem; “forbidden beach” owned by the Varón brothers. He spots Story : Juan Antonio Isabel, a timid young woman reputed to be “strange” (i.e., Bardem; Photo : mentally challenged), but eventually overcomes her Alex Phillips (and shyness. They fall in love, but the Varóns—relatives of Manuel Merino, Isabel—forbid the two young people from meeting. A uncredited); Music : curious stranger, Luis Muñoz, arrives and camps on the Isidro Maiztegui; beach with the consent of the Varóns. He’s an itinerant Prod Chief : José photographer who informs Juan he’s stumbled upon a María Rodríguez; “gold mine.” Juan discovers Isabel in Luis’s tent, Asst Dir : Gervasio apparently against her will; a struggle ensues and Juan Banciella; Film Ed : shoots Luis. He hands over the pistol to Arturo. Antonio Gimeno; Arturo later meets Isabel and she tells her side of the Art Dir : E. Torre de story. Her cousins the Varóns accused her of killing her la Fuente, Pina y father by pushing him off a cliff, telling her that she was in López; Sound : a mental fugue state and thus doesn’t remember the crime. Jaime Torrens, Gabriel Basagañas; Makeup : Fernando They forbid her to visit the village or speak to strangers Florido “for her own protection.” When Muñoz arrives, he exerts a Cast: Rossana Podestá ( Isabel ), Carlos López mysterious hold on the Varón brothers, and they order Moctezuma ( Luis Muñoz ), Marco Vicario ( Juan ), Isabel to “be nice” to him in his camp on the beach. Fernando Rey ( Arturo Ruiz Castro ), Alfredo Mayo However, the sleazy photographer makes advances and (Nicolás Varón ), José Nieto ( Matías Varón ), Santiago Isabel shoots him. Rivero ( police inspector ) Arturo thus has two “confessions” to the crime, but the Notes : Playa prohibida reunited Rossana Podestá with pistol hasn’t been fired! The police inspector reveals that her Nosotros dos co-star Marco Vicario (and Muñoz drowned. Arturo locates the murder victim’s stash cinematographer Alex Phillips, who’d shot both La red of photographic negatives: while taking scenic pictures of and Nosotros dos ), but her third and final Mexican (or the coast, he accidentally recorded the murder of Isabel’s Mexican-Spanish) film was directed by Julián Soler rather father by the Varón brothers, and was blackmailing them. than Emilio Fernández. [Some sources suggest Juan The brothers convinced Isabel she was the killer so they Antonio Bardem was set to helm the picture before being could control the family estate, which otherwise she would replaced by Soler.] Although there are some echoes of have inherited. Luis was drowned by the Varóns as well, 5 THE MEXICAN FILM BULLETIN Volume 19 Number 6 (December 2013) when he began his blackmail scheme. Juan frees Isabel Pituka de Foronda ( Lucha Santurce ), Rafael M. Lara from her cousins' captivity; the brothers pursue them but (Armando Santurce ), Asunción M. Casals ( Sra. Santurce ), are shot by the police. José Pidal ( Bautista ), Amparito Morillo ( Magdalena ), The three different versions of the death of Luis Muñoz Leopoldo Ortín “Chatito” ( Alberto Santurce ), Narciso in Playa prohibida are each partially true, although Juan Busquets ( Pedrín Hidalgo ), Jorge Landeta, Arturo Soto and Isabel both Rangel ( sec’y. of organisation ), Francisco Pando ( man at lie in an attempt meeting ) to take the blame Notes: "rich vs. poor" is a traditional motif in cinema, (and thus clear and Mexican films are no the other person, exception. Regalo de reyes who they believe somewhat undercuts this theme was the actual by have the "poor" family (a) killer). One live in a mansion right next cannot help but door to the "rich" family, (b) imagine scripter not appear to be very "poor" at Bardem was all (although they don't have a influenced by servant, horrors!), at least Rashomon and its varying-viewpoint structure. The plot is compared to the very poor reasonably entertaining and not completely transparent, denizens of numerous other although it seemingly promises more than it ultimately Mexican movies of the era. delivers (the grand mystery of the mysterious man Still, everyone says they're murdered on the "forbidden beach" is nothing more than poor, and they can't afford the Varón brothers hoping to inherit some land). a bicycle as a Christmas Unlike La red , Rossana Podestá stays modestly present for the youngest covered-up throughout Playa prohibida , and in fact has member of the family, so I relatively little to do. Fernando Rey, as the amateur suppose "willing detective, and Carlos López Moctezuma as the sleazy suspension of disbelief" photographer (who progressed from girlie photos to applies and for the sake of innocuous postcards of landscapes, then became a the story we will stipulate blackmailer) are the most interesting characters in the film. that they are, in fact, "poor." Or at least poor-er than their The production values aren't bad--the majority of the neighbours. movie seems to have been shot on location, with some The wealthy Santurce interiors done in studios in Madrid. However, Alex family--father, mother, grown Phillips has little opportunity for the type and amount of daughter, spoiled adolescent artistic photography present in both La red and Nosotros son--live next door to the dos . "poor" Hidalgos (widowed Playa prohibida is a compact and moderately father, grandmother, grown entertaining mystery/crime film, although sold as another son, adolescent son). Juan sexy melodrama a la La red . Hidalgo is an inventor but can't [Note: Playa prohibida (1983) was not connected to find anyone willing to invest in this film in any way.] his revolutionary invention, so he barely makes ends meet working in an office. His elderly mother hasn't lost faith in him, but Juan is ashamed that he can't buy his young son A Christmas Story Pedrín the bicycle he wants for Christmas. Regalo de reyes [Cultural note: in Spain and Mexico, the "Three Kings" [Gift of Kings] --rather than Santa Claus--were traditionally credited with (Prods. Arzoz/Films bringing gifts at Christmastime Victoria, 1942) Prod : (after all, they brought presents to Rafael Arzoz the baby Jesus). The title of this (uncredited); Dir : Mario movie could colloquially be del Río; Scr : [Alfonso] translated as "Gift of the Magi," LaPena & [José] Díaz except then it might be confused Morales; Photo : Ross with O. Henry's story.] Fisher; Prod Chief : Enrique Hernández; Asst Dir : Mario de Juan's older son Enrique is an Lara; Film Ed : Juan José Marino; Art Dir : Jorge engineer, but apparently makes Fernández; Camera Op : Jesús Hernández Gil; Sound : little or no money, since he can't contribute to the bicycle Eduardo Fernández fund and owns only one suit. Said suit is splashed with Cast: Sara García ( doña Esperanza ), David Silva mud by the automobile driven by Lucha Santurce; she (Enrique Hidalgo ), Miguel Ángel Ferriz ( Juan Hidalgo ), laughs at Enrique's appearance and outrage, but is subsequently ashamed of her behaviour. In finest movie 6 THE MEXICAN FILM BULLETIN Volume 19 Number 6 (December 2013) tradition, this means the couple will fall in love. Lucha television in the Sixties and would helps make up for her faux pas by providing a bike for appear from time to time in Pedrín. telenovelas until shortly before her Doña Esperanza asks her neighbour, Sra. Santurce, if death in 1999). Her character's her industrialist husband will grant Juan an interview about romance with Enrique Hidalgo is his invention. Sr. Santurce agrees, but doesn't think Juan's quite perfunctory and certainly not idea is feasible, and vehemently rejects the idea that the focus of the film at all (the Enrique and Lucha could ever become romantically Magdalena-Bautista sub-plot is involved. Juan finds another backer for his invention, more prominent), but the "Romeo and Juliet" aspect does which uses petroleum rather than coke to create steel, and contribute a bit to the progression of the narrative. will soon become rich. Regalo de reyes was the first film directed by However, this means Venezuelan Mario del Río, whose cinematic career was ruin for Santurce, brief and undistinguished. His direction is competent whose fortune is enough, and there are a largely based on coal number of nice tracking mining (coke is shots which give the picture produced from coal): a fluid look, without really now the shoe is on the qualifying as a distinctive other foot, and style. The sequence in Santurce begs Juan for which Juan's steel-making assistance. When process is tested for the first Juan doesn't act, Santurce is charged with misappropriation time stands out as well, of funds and jailed. Encouraged by his mother, Juan with dramatic chiaroscuro agrees to sell his patent and use the money to free Santurce lighting on the faces of from prison, on Christmas Eve (a year after the first Juan, Enrique, Pedrín and doña Esperanza as they observe Christmas depicted in the movie). the blast furnace. The sets are substantial enough and Regalo de reyes is fairly linear and predictable, although most of the film focuses on the Hidalgo and although there is a comic sub-plot dealing with the Santurce households, a few scenes take place elsewhere Santurce's sexy maid Magdalena and their dour, long- and look fine. suffering butler Bautista. Magdalena says every butler in Regalo de reyes is not an especially memorable or every house where she's worked has fallen in love with important film, but it's adequate entertainment. her, but Bautista (who constantly complains about his liver) resists her charms, fearing marriage and the birth of a child who might conceivably be as obnoxious as Alberto Tribu [Tribe] Santurce. In the end, of course, Magdalena gets her way (Miguel Contreras and they clinch. Torres, 1934) Dir- The performances in Regalo de reyes are adequate. Scr : Miguel Sara García plays a fairly early version of her Contreras Torres; "Grandmother of Mexico" role, constantly telling her son Photo : Alex how talented he is, comforting her grandsons, and Phillips, Gabriel generally being a selfless saint who is "never wrong" Figueroa; Music : (according to Pedrín). Rafael M. Lara is rather good as the Max Urban; Prod snobbish Santurce, and José Pidal and Amparo Morillo are Chief : Juan Duque amusing in their roles. Narciso Busquets, although 11 de Estrada; Art Dir : years old when the film was made, is forced to act as if he Engineer I. were much younger, whining about his bicycle and Contreras; Film bursting into tears at inopportune moments. In one scene, Editor : José Marino; he's invited to Alberto's Christmas party (by Lucha) and Sound : Rodríguez when Alberto boasts about his family's Christmas tree-- Hnos. & J.B. [sic] which is huge and well-appointed--Pedrín cries and Kroger demands to be taken home to his grandmother (the Cast: Medea de Novara ( Leonor ), Miguel Contreras Hidalgo's Christmas tree is a spindly shrub, a predecessor Torres ( Tumitl ), Alfredo del Diestro ( Governor Alfonso del of the tree in "A Charlie Brown Christmas"). Alberto is Moral, Duke of Pardo ), Julio Villareal ( Capt. Bazán ), played by Polo Ortín (although billed here as "Chatito," Rosita Arriaga ( Duchess Elvira ), Eduardo Arozamena referencing his father Chato Ortín), who was also teamed (Zotil ), Carlos Villatoro ( Capt. De Tena ), Manuel Noriega with Busquets in Los dos pilletes . (Fray Juan de Oviedo ), Guillermo Calles ( Tumitl’s Pituka de Foronda, the half-sister of Gustavo and counselor ), Emilio Fernández ( Itzul ), Manuel R. Ojeda, A. Rubén Rojo, was not conventionally pretty, but she was a Guerrero Tello, Victorio Blanco ( Spanish soldier ), El lively and attractive actress who worked in a relatively Tigrecito “Yobina” small number of 1940s films (she later returned to 7 THE MEXICAN FILM BULLETIN Volume 19 Number 6 (December 2013) Notes : Mexican cinema of the Thirties and Forties gold, he presses for war. Leonor is abducted by Zotil and featured a significant his adherents (who number of auteurs , some number about two well-known (Juan Orol, people, it seems), but is Emilio Fernández) and rescued by Tumitl. On others not-so (Juan J. their return trip to Santa Ortega). One of the most Fe de Otul, Leonor and notable was Miguel Tumitl's party are Contreras Torres, who forced to take shelter produced, directed, wrote, during a storm. Tumitl and (often) acted in a large comforts the frightened number of feature films from Leonor, they embrace the 1920s through the 1960s. and...fade to black. The vast majority of his Leonor is restored to her family, but Zotil and his men projects dealt with Mexican murder Tumitl with a poisoned arrow. history and/or folkloric topics, and most of his pictures of Tribu is fairly interesting and well-produced, but the the Thirties and early Forties starred his wife, Medea de plot is predictable and unfolds very slowly. Everyone Novara, and featured many of the same actors (Alfredo del speaks and acts in an extremely deliberate fashion, as if the Diestro, Julio Villareal, etc.). film was taking place under the sea or on some planet with Tribu , while not specifically set in Mexico (a printed twice the gravity of Earth. To make matters worse, Tumitl prologue says it could take place speaks only Zapotec until late in the movie (when he picks in "any country") is obviously a up a few words of Spanish), so his dialogue has to be tale of the Spanish conquest of laboriously translated by Itzul (whose Spanish is pretty Mexico (the indigenous people basic itself). speak the Zapotec language) and One facet of Tribu which is somewhat at odds with the subsequent intermingling of traditional conquista stories is the depiction of the Spanish and indigenous peoples. Spaniards as reasonable and peace-loving. Even Captain Other films took up the "Romeo Bazán is only reacting to hostile acts by the natives, and and Juliet" theme of "conquest does not (as one might expect) commit some atrocity on romance" between his own, deferring to the representatives of the different Governor's repeated orders to races, among them La Virgen resort to armed force only morena (1942, "Aztec" Abel when absolutely necessary. Salazar and Spaniard "Blanca," played by Amparo The missionary priests, Morillo) and Chilam Balam (1955, "Mayan" Lucy personified by Fray Juan de González and Spaniard Carlos Baena). Oviedo, don't harshly pursue In the 16th century, Santa Fe de Otul is the their goals of turning the headquarters of the Spanish conquistadores , led by indigenous people into Governor del Moral. Attempts to establish contact with a Christians: in one scene, mysterious tribe of indigenous people have been fruitless, Leonor's mother quizzes Tumitl about his people's worship and several Spanish soldiers have been killed by poisoned of idols (and why they don't accept the Christian God), but arrows. Military leader Bazán Fray Juan gently suggests that this topic be postponed until wants to wage war on the a future time. In an understated but suggestive scene, native people, but the Tumitl gives Leonor a present and she attempts to governor--supported by his reciprocate by handing him a crucifix on a necklace, but he daughter Leonor--wishes to refuses to accept it. exhaust every possibility for a The film instead places the blame on witch doctor Zotil, peaceful rapprochement before who dislikes whites and opposes Tumitl's conciliatory resorting to violence. The attitude. In retrospect, Zotil can be viewed as an Spaniards learn the tribe's chief indigenous "patriot" but in the context of the movie he's has died and hope to make depicted as a subversive, sinister force trying to disrupt the friends with his successor, Tumitl, although witch doctor peaceful coexistence (for the moment) of the tribe and the Zotil is hostile to the foreign invaders. conquistadores . Tumitl is friendly and reasonable, and develops a The production values of Tribu are not especially friendship with Leonor. This makes Captain de Tena, a impressive. The film doesn't look cheap, but there is soldier who's also interested in Leonor, jealous. [However, certainly no spectacle on display. Tumitl's throne room in her journal Leonor says she could never be interested in boasts a huge stone idol, but otherwise he and his people de Tena, because he's not a member of the nobility, as she seem to live in simple grass huts. Santa Fe de Otul is is.] Captain Bazán is still suspicious of the natives, and represented by a building or two (someone's house in real when several more Spaniards are killed while panning for life, most likely) and some interior sets, and the "jungle" 8 THE MEXICAN FILM BULLETIN Volume 19 Number 6 (December 2013) sequences occur in very park-like lands. The costumes are Kovaris ( Nina ), José Dupeyrón ( Robertson ), Arturo rather good, on the other hand, and while there aren't Bonilla ( Tony ), Julio Lerma ( Martín ), Sergio Lerma hordes of extras, in most cases there are enough to make a (Pedro ), Alfredo [sic, Marcelo] Villamil ( newscaster good impression. Marcelo Villamil ), Norma Kingsberg & Leonardo Noriega Tribu isn't a great or profound film, and the pace is (parents of Karis ), Pedro González ( warden ), Daniel rather glacial at times, but it's an interesting cinematic Robles ( Sam Moreno ) artifact. Notes : the basic premise of Lobo salvaje is outrageous Trivia but is rather quickly forgotten as the film becomes a note: constant string of chases and gunfights. This doesn't mean although it the picture is very good--in fact, it gets a little boring at doesn't reach times--but at least the dumb basic idea isn't constantly the thrown in the audience's face. astounding Gangster Danna Massini is on trial in Texas, but the total of witnesses against him are being systematically executed by Refugiados his henchmen. Prosecutor en Madrid Leonel has one last hope: 4 (1938), criminals in federal prison which in Arizona could testify counted 13 against Massini, but he former or future directors in its cast and crew (not "doesn't have time" to go including the actual director of the movie itself), at least through all the legal niceties eight people who worked on Tribu had or would later to have them sent to Texas. direct feature films of their own: Emilio Fernández, So he decides to help them Guillermo Calles (both shown in the above shot with escape from prison! Veteran police officer Frank Ventura Contreras Torres), Alfredo del Diestro, Julio Villareal, --for some unknown reason--has initimate knowledge of Manolo Noriega, Carlos Villatoro, Alex Phillips, and the penitentiary where the quartet currently resides, so Eduardo Arozamena. Leonel has him draw up a plan, but insists Ventura is too Miguel Contreras Torres was one of the pioneers in old to shepherd the escapees across the state (the trial is making dual versions of his films, one in Spanish and the being held in Brownsville, located at the southernmost tip other in English (a practice he continued into the '60s, of Texas). He later changes his mind and agrees Ventura when René Cardona Jr. also began doing it). An English- is the man for the job. language version of Tribu was allegedly produced, but However, Ventura's son Frank Jr., known as "Lobo" to apparently never released. his friends, overhears the conversation Father-Son Action Films between his father from Rubén Galindo and the prosecutor. Lobo is a (Prods. Galubi- Lobo salvaje [Savage Wolf] motorcycle-riding Dynamic Films, 1983) Exec Prod : Pedro González; Prod : layabout, with a Rubén Galindo Jr.; Dir : Rubén Galindo A.; Adapt : Carlos pregnant girlfriend, Valdemar; Story : Rubén Galindo A.; Photo : Luis Medina; and is constantly Music : Nacho Méndez; Assoc Prod : Teresa Ubierna; Prod chaffed by his father for not making something of his life. Mgr : Samuel de la Fuente; Asst Dir : Rubén Galindo Jr.; Lobo has his friends hold his father hostage and takes Film Ed : Carlos Savage; Prod Design : Rodolfo Galindo; Frank Sr.'s place on the mission (unknown to the Sound Ed : José Li-Ho; Union : STPC prosecutor). He's inserted into the Arizona prison as a Cast: Miguel convict, then learns the 4 prisoners--Sam, Montana, Ángel Rodríguez Gordon, and Joe--don't want to escape! They fear Massini (Frank "Lobo" will have them murdered if they try to testify. But when Ventura Jr. ), Sam is poisoned in the mess hall, the others agree to go Armando Silvestre with Lobo--cellmate Dany comes along for the ride. (Montana ), Fernando Outside the prison, FBI agent Gavito is waiting with a Casanova ( Gordon ), van. Massini's men pursue them, killing Gavito, wrecking Narciso Busquets the van, wounding Joe (he later dies), and killing Dany (Frank Ventura Sr. ), (even though he's not one of the potential witnesses). Tony Bravo ( Joe Montana and Gordon try to flee but Lobo forces them to Treviño ), Arlette Pacheco ( Karis ), Juan Peláez ( Agent continue. Arriving at the courthouse, they run one final Gavito ), Claudio Báez ( Dany ), Alfredo Leal ( prosecutor gamut of gangsters: Frank Sr., having escaped from his Leonel ), Rubén Benavides ( Danna Massini ), Baltazar captors, is there to help, but Gordon is mortally wounded. Guzmán ( Mario Villeli ), Carlos Pouliot ( judge ), Nina

9 THE MEXICAN FILM BULLETIN Volume 19 Number 6 (December 2013) Lobo, Frank Sr., and Montana burst into the courtroom, Shot on location in Texas (where everyone speaks only to be told that they perfect Spanish), Lobo salvaje is reasonably well-produced missed the judge's deadline and acted. It's nice to see bit player Marcelo Villamil have by 15 minutes. Massini is a slightly larger role than usual, found innocent. Montana and Leal, Busquets, Silvestre, grabs Lobo's pistol and Casanova and Rodríguez turn in shoots the gangster to death. solid performances. The pacing is Lobo, realising he's become a not as slick as it could be, and the "real man" at last, embraces action scenes are noisy but not his father and then collects very elaborate or spectacular. his pregnant girlfriend (who's Special mention should be made of leading an aerobics class at a health club), presumably to the music score by Nacho Méndez, do the right thing by her. which is so eclectic that one suspects it might be library A combination of The Narrow Margin and The Defiant music. The music isn't bad, it's just extremely varied, Ones , Lobo salvaje begins with the ludicrously flawed idea stylistically. that a Texas state prosecutor would have 4 federal convicts Trivia note: despite the flimsy premise, it was escape from prison to testify in a trial. Couldn't he have apparently good enough to be used--uncredited--for A made legal arrangements earlier? (To be fair, he didn't sangre y fuego (1988), an action film written and directed know his other witnesses would all be gunned down by by Gilberto de Anda. In this version, the protagonist Massini's thugs, but this wasn't entirely unexpected.) All (Valentín Trujillo) is a policeman, the setting is changed to ethical and legal issues aside, the script then makes the Mexico, and all of the convicts are killed, so that it's the escape seem easy (and it is not pre-arranged with the policeman who shoots the gangster after the trial. Juan guards) because Frank Peláez also appeared in this film, albeit in a different role Ventura knows a "secret" than he did in Lobo salvaje. way out of the prison (and his son knows it too, because Frank wrote it all Narco terror (Prods. Galubi-Dynamic Films, 1985)* down). Then, the four Exec Prod : Raúl convicts are to be driven Galindo Ubierna; across the Arizona-Texas Prod : Rubén border and all the way to Galindo Jr.; Dir : Brownsville in a white van Rubén Galindo; (what, nobody ever heard Scr : Carlos of renting a private plane?), with one FBI agent and one Valdemar; Story : policeman providing security? (As it happens, the FBI Rubén Galindo; agent is killed early and the policeman is replaced by his Photo : Tony de completely untrained son.) Fortunately, Lobo is Anda; Music : apparently a "natural" at such things, because he fends off Chucho Zarzosa; dozens of gunmen and eludes numerous death-traps (in Prod Mgr : one scene, he shoots two parked cars with a pistol and they Ricardo both explode in flames!), including an attack by a Martínez; Asst helicopter and one by a boat. How Massini's men know Dir: Carlos where the fugitives are at any given moment is Durán; Film Ed : inexplicable, but it doesn't matter, Lobo foils their puny Carlos Savage; attempts to kill his wards...uh, except that he loses 3 of the Camera Op : 4 convicts on the way, but hey, it only takes one to testify, Agustín Meza; and...oh, wait...they miss the deadline so he doesn't even Makeup : Victoria succeed in that. Celis; Re-rec : Lobo salvaje at least has the decency to begin with a Ángel Emiliano Trejo; Sound Ed : Javier Patiño few moments of characterisation (after a scene in which *lobby cards for the film list the production companies Massini's henchman crash into a house and murder a as: Prods. Galubi, Prods. Torrente, and Dinamic Films Inc. witness): the prosecutor and Frank have several good (the "Inc." suggests the latter company was based in the conversations where the older policeman insists he is not USA, since Mexican films use the initials "S.A." for too old to carry out the mission; Lobo bitches to his pals "Sociedad Anónima") about his pregnant girlfriend, then meets her and urges her Cast: Eduardo Yáñez ( Roca Durán ), Alfredo Leal to have an abortion (she refuses, of course); and Lobo and (Arturo Durán ), Juan Gallardo ( Bernardo Treviño ), Felicia Frank Sr. have an argument about the son's shiftless Mercado (Maura Treviño ), Juan Verduzco ( Morris Serur ), lifestyle. These sequences, like the action scenes that Raúl Meras [sic] ( Ramiro Mortera ), Claudio Báez follow, do a good job of obscuring the silliness of the (Meneses ), Roberto Montiel ( Mario Cortés ), Leo whole plan. Villanueva ( Mando ), Fabián Aranza ( Reyes ), Gabriela 10 THE MEXICAN FILM BULLETIN Volume 19 Number 6 (December 2013) Goldsmied ( Clavel ), Vicky Conti ( Vicki ), Alfredo to death). So apparently Roca isn't worried about being Gutiérrez ( Rico ), Carlos González ( Joel ), Yirah Aparicio faithful to his fiancee during his escape... (Gaviota ), Juan Jaramillo ( Castaño ), Ricardo González, Arturo is killed and Roca is also wounded, tumbling ?Roy de la Serna ( Monada ) [ note : the end credits contain into a river. He's rescued by aspiring writer Clavel, who numerous errors, some of which I have corrected above. nurses him back to health, falls in love with him, and lends For example, Raúl Meraz is credited as "Cortés" (wrong), him her car so he can continue his mission. How long his Roberto Montiel as "Chamo" (wrong), and Fabián Aranza recovery takes is not clear, and Clavel never appears again as "Casco" (wrong). Some of the other character names (I guess she didn't get her car back, either). Roca recovers above may also be incorrect, especially for the supporting his father's (5.25 inch) diskette and--in an amusing display players. Also, the "Alfredo Gutiérrez" in this movie is not of mid-Eighties computer technology--opens a text file the familiar character actor known as "El Turco," but containing about 3 paragraphs of information about the rather the stuntman/actor known as Alfredo "Tarzan" ringleaders of "Operación Alacrán." Of course, this is all Gutiérrez.] he needs, because the script helpfully makes sure his Notes: Narco terror contains a number of exciting victims are all easily accessible, beginning with the action sequences, but the script is otherwise skimpy and gangster carrying his father's .45 automatic (which Roca illogical, with little or no character development. prefers to his own puny revolver). Arturo Durán is a banker for the Mafia, who steals their Roca blasts his way through hordes of bodyguards in plan for narco-trafficking "Operación Alacrán." Head order to reach the gang bosses. By the time he gets to gangster Bernardo Treviño, whose daughter Maura is Ramiro Mortera, Roca is so cocky that he calls and coincidentally engaged to announces his arrival in advance! Only Bernardo Treviño Durán's son Roca, orders eludes instant assassination, because his daughter Maura a hit on the renegade uses her feminine wiles to distract Roca, thus setting up the banker. Arturo and Roca final showdown. flee together, killing There is little or no character development in Narco numerous gunmen as they terror . An early montage sequence cuts between Roca go. The criminals pursue practicing fútbol americano and Maura idly shopping, but them to Valle de Bravo, if this was intended to set up some sort of contrast between where Arturo is mortally them, nothing is ever made of it. Maura effectively wounded. Before he dies, vanishes during the middle section of the movie, and aside he tells Roca where to from a passing remark that he's studying architecture, Roca locate a diskette has no personality other than "avenging son." containing details of Operación Alacrán, including the Given this minimal level of characterisation, one should names of the main mafiosos . First retrieving his father's not expect too much from the performances, but in most .45 calibre pistol, Roca sets out to execute the gangsters, cases the actors were seasoned professionals and handle saving Treviño for last. Tipped off by Roca, the police their limited chores raid a rendezvous where drugs are being transferred. Roca effectively. Eduardo confronts Treviño but is shot from behind by Maura, trying Yáñez is handsome to defend her father. Although wounded, Roca kills and athletic, Felicia Treviño and is then taken into custody by the police. Mercado is attractive The script of Narco terror is not much more than a (she has typical template for a series of shoot-outs. As the film opens, Eighties' big-hair, Arturo and Roca practice target-shooting with their pistols, but she should have providing at least some minimum explanation for their gone with darker later prowess with firearms (considering they're a banker lipstick), Juan and a university student, respectively). However, most of Gallardo is slickly the rest of the movie makes very little sense. Arturo evil, and so on. One doesn't seem to have a plan of the interesting things about Narco terror is the attention after defecting from the ranks paid to the crew of supporting actors and stunt men of the Mafia, and he insists that playing Mafia "soldiers"--there are plenty of gun-toting Roca go ahead and marry mobsters around for Roca to shoot (at times the movie Maura , even though she's the resembles a video game) and, as mentioned earlier, these daughter of chief gangster! scenes are filmed and edited effectively. Roca refuses, choosing to Overall production values are adequate: as with the accompany his father as they majority of Mexican films of this era (especially action flee...a short distance from Mexico City to Valle de Bravo, movies), it appears to have been shot entirely on actual where they hang out in nightclubs, practically begging to locations. When Roca attacks Ramiro Mortera's place of be spotted by their pursuers. Roca has a one-night stand business (some sort of food distribution company), a large with a female mud-wrestler, who's later abducted by the black bar appears on the top of the screen in one shot, Mafia and forced to reveal their identity (and is then shot obscuring (probably) the real name of the company painted

11 THE MEXICAN FILM BULLETIN Volume 19 Number 6 (December 2013) on a wall (in the TV version, at least; I don't know if this miedo --both produced by Adolfo Grovas. However, La appeared in the original theatrical release or not). muñeca perversa has no supernatural aspects, dealing Slick and superficial, but not boring. instead with a sort of "Bad Seed Who Sprouted," teenage serial killer Rosi. It was 5 years before the film got a Mexico City release date, playing for a week in 1974, but Ramón Obón and his while this isn't as good as the Taboada duo, it's not a bad Sinister Dolls picture overall. The title is somewhat misleading: there is a doll which appears from time to time in the movie (Ricardo gives it to Elena for "good luck," then Rosi inherits it and clutches it from time to time), but it has no supernatural powers and in fact plays a very peripheral role at best in the plot. The "perverse doll" actually refers to Rosi herself. [Although the narrative features a number of flashbacks, as usual we won't attempt to reproduce these in the synopsis.] Ricardo marries Elena after sabotaging her career as a fashion designer "for her own good." This failure exacerbates her dependence on alcohol, and the hostile reaction of Ricardo's mother doña Isabel to the marriage doesn't help. Ricardo and Elena build a new house La muñeca perversa [The Perverse Doll] (Prods. next to his mother's mansion, AGS S.A./Columbia Pictures, 1969) "Adolfo Grovas S. and have a child, Rosi. As time goes by, Rosi facilitates presents"; Dir : Rafael Baledón; Scr : Ramón Obón her mother's addiction, giving her brandy obtained (in Arellano*, León Roberto García, Rafael Baledón; Photo : exchange for sex) from Rosi's boyfriend Larry. When the Fernando Álvarez Garcés; Music : Raúl Lavista; Asst Dir : estate gardener discovers how Elena has been getting her Javier Durán E.; Script Clerk : Damián Acosta E.; Film Ed : liquor, Rosi murders him with a sickle to prevent exposure. Felipe Marino; Art Dir : Octavio Ocampo; Decor : Jesús She then blames Elena for the crime (by the simple process Rodríguez; Makeup : Graciela González; Camera Op : A. of handing her mother the murder weapon and then telling Lara Alvarado; Lighting : F. Tepozte Gaeta; Sound Supv : everyone "she did it!"); Elena is sent to a mental hospital Engineer Carlos Jiménez; Dialog Rec : Consuelo J. and subjected to electroshock treatments. Some time later, Rendón; Re-rec : Engineer Heinrich Henkel; Music Rec : she escapes. Ricardo Saldívar; Union : STIC; Eastmancolor Meanwhile, Rosi has begun to eliminate the other *although Ramón Obón Arellano is credited on-screen, members of her family, poisoning her grandmother and this was the full name of Ramón Obón Sr., who died in pushing her aunt Jenny down a flight of stairs (Jenny does 1965. His son, Ramón Obón Jr. (Ramón Obón León), is not die, but is credited in most print sources as the co-scripter of this confined to a film. wheelchair). Cast : Marga López ( Elena ), Joaquín Cordero ( Ricardo Rosi gives her Montenegro ), Lilia Michel ( Julieta Montenegro de aunt Julieta-- Rovelo ), Ofelia Guilmáin ( doña Isabel ), Rosangela Balbó married to Dr. (Leticia ), Norma Lazareno ( Rosi** ), Carmen Montejo Federico (Jenny ), Roberto Cañedo ( Dr. Federico Rovelo ), Ana Rovelo, a noted Gram ( Luisita ), Salomón Laiter ( Larry ), Armando Acosta psychologist--a (man at morgue ), María Rosa Serral, Carlos Martínez sleeping Baena ( Professor ), Jesús Gómez, Carmen Serral, Norma potion, then Elena Alarcón, José Luis Caro ( coroner ), Regino Herrera chases Julieta's little daughter Luisita throughout the house (gardener ), Rubén Márquez & Mirón Levine ( men who with a cleaver! Rosi also stabs Larry (who's returned to sell land to doña Isabel ) blackmail her into more sex) with a pair of scissors, ** Lazareno is billed as "Rosi" on the opening credits, drowns her aunt Leticia in the bathtub, and causes a huge but other sources--including publicity for the film's crystal chandelier to crash down on Jenny, finishing her theatrical release--spell her name "Rosy." off. Finally cornering Luisita, Rosi prepares to administer Notes: this psychological thriller reunites performers the coup de grace but is stopped by her mother. from Carlos Enrique Taboada's recent popular fantasy When Ricardo and Federico return to the house, they films--López, Cordero and Lazareno from El libro de discover the carnage (Julieta and Luisita are alright piedra , López and Lazareno from Hasta el viento tiene though) and see Ricardo's modern house next door in flames. Inside, Elena and Rosi wait for death. 12 THE MEXICAN FILM BULLETIN Volume 19 Number 6 (December 2013) Norma Lazareno has one of her best roles in La long shot of the house, Ricardo looking on--the viewer muñeca perversa . She'd been acting in films since the simply wants the movie to end . However, on the whole mid-Fifties (and was in fact 30 years old when she starred the film holds one's interest, in large part due to the in La muñeca perversa , but doesn't look it), but had been gleefully sinister main character. mostly cast in minor parts and ingenue roles. In the 1970s Curiously, given the tenuous Carlos Enrique Taboada she began to specialise in playing downtrodden wives and connection, the noted writer-director received co- girlfriends in melodramas, although she was also a femme screenplay credit on La víbora (1994), directed by Raúl fatale--albeit a less murderous one--in 1971's La satánica . Araiza, which borrows some basic elements from the In La muñeca perversa she's excellent as the scheming earlier movie: a young woman has her alcoholic mother Rosi, fawning over her father and pretending innocence, sent to a mental hospital, then begins to systematically while revealing her maniacal nature to her victims. The murder the other members of her family. Her mother film doesn't explain Rosi's motivations, other than returns at the end of the movie to put an end to her (perhaps) a desire to have her father's love all to herself daughter's crimes. (although this doesn't explain why she wants to kill her aunts and her little cousin), maybe a slight nod to The Bad Seed . Mostly, she just seems to be crazy and evil. Morgana (Prods. Gonzalo Elvira-Televisa-Groupo In one effective Inbursa, ©2012) Exec Prod : Gonzalo Elvira Álvarez; scene, the drugged Prod : Gonzalo Elvira y Sánchez de Aparicio; Dir-Scr : Julieta stumbles Ramón Obón; downstairs and Photo : Carlos tries to telephone Aguilera, Héctor for help. Rosi Maeshiro, Alberto waits until the Lee; Music : desperate woman Alejandro has made the Giacomán; Prod connection, then Mgr: Patricia calmly sits down Reiguero González; and severs the phone line with her scissors. Later, she Asst Dir : Lourdes taunts the paralysed Jenny by dragging the woman's Álvarez Martínez; wheelchair out of her reach; then, as Jenny agonisingly Film Ed : Mónica crawls towards the telephone (which doesn't even work, Romero Arrieta; although she doesn't know it), Rosi waits until her aunt is Spec FX Makeup : underneath the chandelier, then lets it fall, crushing her to Juan Manuel death. Méndez, Carmen The other performances in La muñeca perversa are Cervantes; Makeup : satisfactory. Marga López has relatively little footage, and Josefina Arellano; Joaquín Cordero doesn't have much to do, but Lilia Michel Direct Sound : Manuel Rincón; Union : STIC (married to director Rafael Baledón) and Rosangela Balbó Cast: Siouzana Melikian ( Morgana ), Lilia Aragón make the most of their substantial roles. Ofelia Guilmáin (Aunt Carolina ), Irán Castillo ( Daniela ), Luis Felipe Tovar only appears in a couple of scenes but is excellent in her (Agustín ), Alejandra Adame ( Sofía ), Alejandra Toussaint usual "horrible mother/mother-in-law" part. Future (Mercedes ), Eugenio Becker ( Gustavo ), David Ostrosky director Salomón Laiter plays the lustful Larry effectively. (Morgana’s father ), Abraham Stavans ( librarian ), Ana Although Rafael Baledón disparaged his own Julieta Récamier (Morgana as a child ), Mateo González directorial career later in life, in fact he was a better than Osés Obón ( Mateo ), María Luisa Coronel ( blind woman ), average director and La muñeca perversa benefits from his Madame Récamier ( disc jockey-singer ), Alida Flores work behind the camera. Much of the film is shot from Castro ( servant ), Francisco Pérez Nieto ( father of low angles--when Ozu did it, critics raved, but nobody Mercedes ) seems to have noticed Baledón's work. A fair amount of Notes: Ramón Obón León (aka Ramón Obón Jr.) suspense is generated in the scenes of Rosi "at work," and followed his father's career path, beginning as a only two scenes stand out as sub-par. First, the sequence screenwriter and then turning to direction (although the in which spectators at a fashion show heckle Elena's senior Obón managed to direct only one film, Cien gritos designs is awkward and unbelievable (women in evening de terror , before his death in 1965). Obón Jr. made his gowns and men in tuxedos at a public event would act like directorial debut with the horror film Hasta que la muerte this?), even if it's explained that Ricardo set it up so Elena nos separe (1987), but helmed only a few other features would fail. The concluding sequence is terribly protracted (the most recent being 1994's A ritmo de salsa ) before and clumsy: Baledón repeatedly cuts from shots of an "retiring" from the cinema to devote his time to his law expressionless Elena and Rosi in the burning house to practice (he also wrote three novels). The success of the Ricardo moaning and whining as he watches the house remake of Hasta el viento tiene miedo prompted producer "burn" (a poor effect--the house is clearly not on fire). Gonzalo Elvira Álvarez (a friend and legal client of Obón) After the third or fourth set of such shots--Elena and Rosi, to suggest a return to directing for Obón, with Morgana . 13 THE MEXICAN FILM BULLETIN Volume 19 Number 6 (December 2013) A slick, good-looking film, Morgana suffers from a Sofía off a balcony and commanding Morgana to row out deliberately-paced, cluttered, unfocused and not very onto the lake and kill herself. Just before she does, original script. As counter-intuitive as it may seem, Carolina and Agustín--who have exhumed the dessicated Obón's direction is better than corpse of the baby-- his screenplay. For example, confront there are almost too many Daniela/Mercedes and "monsters" in the narrative, say a few prayers, which dilutes the effectiveness which somehow defuse of any of them: there's the the situation. Mercedes ghost of a young woman (who is at peace, Morgana occasionally morphs into a doesn't cut her wrists, cadaverish creature); a creature that lurks beneath the Sofía will recover, surface of a lake and grabs, Creature of the Black Lagoon- Daniela returns to style, at the protagonist as she swims (this is supposed to normal, and all is well. be the aforementioned cadaver-version of the first ghost, Morgana builds up a fair amount of suspense (although but it's presented in a different fashion and thus seems like the pacing is rather slow) but the ultimate reveal--the ghost a different monster); a creepy doll allegedly inhabited by who just wants her baby back--is overly conventional and the soul of a dead baby; another ghost or spirit or the climactic skimpy amateur-exorcism scene is weak. something, of a blind There are some nice scenes, such as the one in which woman, who lurks outside Morgana is slicing limes and a haunted house; and a gets an urge to cut her wrists: character who is this is somewhat undercut by possessed by the first Siouzana Melikian's risible spirit and gets all demonic facial expressions and bulging in appearance and eyes, but it's still reasonably demeanour. These appear effective. As so often happens in alternating scenes and in such movies, the back story although they are all linked, the sheer variety of is hidden for the first half of the supernatural menaces makes it difficult to focus on the picture and then suddenly the mystery is too easily main one. explained (apparently Agustín knew a lot of it already and Morgana, approaching her 21st birthday, lives in a large then Daniela gets fairly complete details from a library). mansion on the shore of Lake Avándaro with her aunt The production values are good, with excellent Carolina. Her mother is dead and her father travels photography (by three credited cinematographers) and a frequently on business. Morgana suffers from depression top-notch score by Alejandro Giacomán. The film looks and is under the care of psychiatrist Daniela; she has quite good, technically. The acting varies in quality. nightmares about being Siouzana Melikian is marginally adequate and Eugenio abducted as a little girl by a Becker is slightly less than that (to be fair, he's given some ghost who takes her out on the terrible dialogue). Lilia Aragón seems to have morphed lake. Morgana's boyfriend into Isabela Corona, while a bearded Luis Felipe Tovar Gustavo isn't very supportive, looks like a combination Manuel Ojeda and Gabby Hayes and when her friend Sofía (seriously, he's unrecognisable), but both of these actors arrives to spend some time, are professionals and turn in solid, enjoyable Sofía isn't too helpful either. performances. Morgana discovers she's Morgana isn't a bad film--certainly not as bad as some pregnant, although she's always been careful to use birth online reviews would suggest--but it's not very scary or control. Carolina thinks Morgana is going insane-- especially memorable in any way. although the older woman herself sees a ghostly figure in the house--while gardener Agustín fears supernatural THE MEXICAN FILM BULLETIN is forces are at work. Morgana re-discovers a doll her father had purchased for her as a little girl; she eventually takes published 6 times a year. Contents 2013 by the doll to the basement and locks it in a suitcase, because David E. Wilt, 6803 Dartmouth Ave, College it upsets her. Park MD 20740 USA ([email protected]), except Eventually the story unfolds: a century before, a young for material already copyrighted, which appears woman named Mercedes lived in a neighbouring house (now a ruin) and became pregnant out of wedlock. Her under the Fair Use provisions of the law. parents took the baby away after it was born, walling it up READ MFB ONLINE: alive in a secret basement passage. Mercedes rowed out in www.terpconnect.umd.edu/~dwilt/mexnews.html the middle of the lake and committed suicide by slitting her wrists. Mercedes' vengeful spirit possesses Daniela (who unwisely ventures into the ruined mansion), tossing 14 THE MEXICAN FILM BULLETIN Volume 19 Number 6 (December 2013) INDEX TO THE MEXICAN FILM Colosio el asesinato #3 BULLETIN VOLUME 19 (2013) Dando y dando #3 Dos fantasmas y una muchacha #5 Los dos pilletes (1942) #4 Obituaries: Emanuelo(Nacido para pecar) #3 Olga Agostini #4 El fantasma de la opereta #5 Karla Álvarez #6 Los fantasmas burlone #5 Raúl Araiza #1 El Fantástico vs. el Nahual #5 Joaquín Cordero #1 El hombre y la bestia #3 Lilia del Valle #1 La honradez es un estorbo #3 Adela Fernández #5 Juan Charrasqueado #3 Miguel Ángel Ferriz nieto #6 Lobo salvaje #6 Steve Forrest #3 La máscara de carne #1 Gustavo García #5 Mente asesina #1 Arthur Hansl #2 La metralleta infernal #5 Johnny Laboriel #5 Miguel Strogoff (El correo del Zar) (1943) #4 Alfredo Landa #3 Los Miserables (1943) #4 Ana Bertha Lepe #5 Morgana #6 Enrique Lizalde #3 El muerto murió #3 Irma Lozano #5 Mujeres sin mañana #2 Carmen Montejo #2 La muñeca perversa #6 Sara Montiel #2 Narco terror #6 Peter O'Toole #6 No matarás #2 Raúl Raúl Padilla "Chóforo" #3 Nosotros dos #6 Juan Peláez #6 One Minute Before Death #5 Rossana Podestá #6 The Oval Portrait #5 Chava Reyes #1 Peregrina #1 María Rivas #1 Piel canela #2 Amparo Rivelles #5 Pistoleros del oeste #1 Pepe Romay #6 Platillos voladores #5 Camilo Vives #2 Playa prohibida #6 Olga Zubarry #1 Recuerdo de aquella noche (1944) #4 Articles: La red #6 2012 Box-Office Report #1 Regalo de reyes #6 2013 CANACINE Awards #2 Resurrección (1943) #4 2013 Diosa de Plata Awards #4 Rocambole (1946) #4 Ariel Awards 2013 #3 El secreto de la solterona (1944) #4 "For All the World to See: International Literary Se solicitan modelos #2 Adaptations in Mexican Cinema During WWII" El Solitario #2 #4 Su precio...unos dólares #2 Mexican Cinema in 2013 #6 Terremoto en Guatemala #3 Reviews: Tribu #6 El agarra todo #3 Trío y cuarteto #2 El agente Víctor contra Arsenio Lupín (1945) #4 La vida precoz y breve de Sabina Rivas #3 El ahijado de la muerte #5 El vuelo de la muerte #2 Ángela Morante-crimen o suicidio #3 Attack of the Mayan Mummy #5 Aventuras de Pinocho y Cucuruchito #1 El cafre #1 El cocinero de mi mujer #1 15