The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012)

The Mexican Film Bulletin

Volume 18, Number 3

July-August 2012

2012 Ariel Awards 2012 Ariel Awards The 2012 (Winners Underlined) Ariel Awards Best Film ceremony took Días de gracia place on 2 June Miss Bala 2012 at the Pastorela Palacio de Bellas Best Direction Artes in Mexico Everardo Gout ( Días de gracia ) City. The two Gerardo Naranjo ( Miss Bala ) most-honoured Emilio Portes ( Pastorela ) films were Best Actress Pastorela (7 Magda Vizcaíno ( Martha ) Arieles, Teresita Sánchez ( Verano de Goliat ) including Best Irán Castillo ( Victorio ) Film) and Días de gracia (8 Arieles, including Best First Best Actor Work for director Everardo Gout). Tenoch Huerta ( Días de gracia ) The Lifetime Achievement Arieles de Oro were given Noé Hernández ( Miss Bala ) to Alfredo Joskowicz—director, former head of IMCINE Joaquín Cosío ( Pastorela ) and the Churubusco studios, film teacher—and sound engineer René Ruiz Cerón. The late Pedro Armendáriz Jr. Best Co-Starring Actress was also the subject of a tribute during the evening’s Norma Angélica ( Acorazado ) festivities. Eileen Yáñez ( Días de gracia ) Carlos Carrera, president of the Academia Mexicana de Nailea Norvind ( La otra familia ) Artes y Ciencias Cinematográficas, asked that Mexico’s Best Co-Starring Actor next president (whoever it shall be after the upcoming Krystyan Ferrer ( Días de gracia ) elections) help protect the Mexican film industry. He cited Mario Zaragoza ( Días de gracia ) a breakdown of the “gentleman’s agreement” that Carlos Cobos ( Pastorela ) guaranteed a week’s Roberto Sosa ( Victorio ) release for Mexican Best Original Screenplay films, with the Álvaro Curiel ( Acorazado ) possibility of a second Jorge A. Estrada, Alfredo Castañeda ( La week in cinemas if the revolución de Juan Escopeta ) box-office supported it. Emilio Portes ( Pastorela ) Instead, the majority of Best Photography films from the cine Sebastián Hiriart ( A tiro de piedra ) nacional (which make Luis David Sansans ( Días de gracia ) up about 10% of the Damián García ( Pastorela ) movies shown in Mexico Best Editing each year) are pulled Hervé Schneid, José Salcedo, Everardo Gout after a single week. th (Días de gracia ) The 54 edition of the Juan Manuel Figueroa ( El cielo abierto ) Ariel Awards was the subject of some controversy, with Rodrigo Ríos, Emilio Portes ( Pastorela ) complaints that the budget for the ceremony was insufficient and neither of the major television networks Best Original Music was willing to broadcast the event (or would only do so if Atticuss Ross, Shigeru Umebayashi, Nick Cave, they could keep the commercial revenue and didn’t have to Warren Ellis ( Días de gracia ) pay any fees to the Academia). Michael Nyman, Gerard Pastor ( La maleta mexicana ) Aldo Max Rodríguez ( Pastorela )

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The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012)

Best Sound Ariel de Oro Vicent Arnardi, Julién Pérez, Enrique Greiner, Alfredo Joskowicz Frédéric Le Louet, Fernando Cámara ( Días de gracia ) René Ruiz Cerón Mario Martínez, Miguel Hernández, Isabel Muñoz ( Pastorela ) Lena Esquenazi, Diego Gat, Pablo Tamez ( Te Obituaries extraño ) Alfredo Joskowicz Best Art Direction Alfredo Joskowicz, a film director, teacher and former Bernardo Trujillo ( Días de gracia ) head of IMCINE as well as both Mexico City film schools Emilio Basaldúa ( El mural ) (CUEC & CCC) and both major film studios (the Estudios Alejandro García ( Pastorela ) América and the Estudios Churubusco-Azteca), died of Best Costumes leukemia on 5 July 2012. Joskowicz had just received the Graciela Galán ( El mural ) lifetime achievement Ariel de Oro at the 54 th Ariel Awards Gabriela Fernández ( Pastorela ) on 2 June. Mónica Neumaier ( Te extraño ) Alfredo Joskowicz Bobrownicki was born in Mexico Best Makeup City in August 1937. He studied electrical and electronic Felipe Salazar , Roberto Ortiz ( Días de gracia ) communications engineering at the Instituto Politécnico Beatuska Stanislaw ( El mural ) Nacional and did post-graduate work in France, but upon Roberto Ortiz ( Pastorela ) his return to Mexico changed his career course and in 1966 Best Special Effects enrolled in the UNAM film school, CUEC, from which he Ricardo Arvizu ( Días de gracia ) graduated in 1970. He also did post-graduate work in film Daniel Cordero “Chovy” ( Pastorela ) and television in Belgium. Alex Vázquez ( Salvando al soldado Pérez ) Joskowicz ‘s first feature film Best Visual Effects was Crates (1970), followed by El cambio (1971). Throughout the Buf Comagnie, Film Factory ( Días de gracia ) rest of his career he would Gretel Studio ( Pastorela ) continue to make the occasional Raúl Prado, Edgar Mejía, José Carlos García de fictional feature ( Meridiano 100, Letona ( Salvando al soldado Pérez ) Constelaciones, El caballito Best First Work volador, Playa azul ), as well as A tiro de piedra (Sebastián Hiriart) documentaries, at the same time Días de gracia (Everardo Gout) teaching several generations of El lugar más pequeño (Tatiana Huezo ) aspiring filmmakers and working Best Documentary Feature in various administrative posts. El cielo abierto (Everardo González) In addition to his 2012 Ariel de Oro, Joskowicz was El lugar más pequeño (Tatiana Huezo) honoured two additional times by the Academia, receiving Morir de pie (Jacarando Correa) a special Ariel for Constelaciones in 1981, and the prize Presunto culpable (Roberto Hernández, Geoffrey for Best Documentary Short for Recordar es vivir in 1994. Smith) He was also nominated three other times. Príncipe Azteca (A. Fernández) Best Fictional Short El pescador (Samantha Pineda) Carlos Fuentes Juan y la borrega (J. Xavier Velasco) Carlos Fuentes, one of the most honoured Mexican Mari Pepa (Samuel Isamu Kishi Leopo) writers of the past half-century, Best Documentary Short died on 15 May 2012 in Mexico Extraño rumor de la tierra cuando se abre un City; he was 83 years old. surco (Juan Manuel Sepúlveda) Fuentes suffered a severe Y retiemble en sus centros la tierra (Patricia hemorrhage in his throat, Martínez) possibly caused by heart Yuban (Ya’asib Vázquez Colmenares) medications he had been taking. Best Animated Short Carlos Fuentes Macías was born in Panama in November Mutatio (León Fernández) 1928; his father was a Mexican Prita noire (Sofía Carrillo) diplomat, and the young Carlos Best Iberoamerican Film lived in various cities around the La hora cero (Diego Velasco—Venezuela) world, including Washington Pa negre (Agustí Villaronga—Spain) D.C. from about 1934 to 1940. At the age of 16 he Violeta se fue a los cielos (Andrés Wood—Chile) returned to Mexico and eventually graduated with a law degree from UNAM. Although Fuentes intended to follow

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The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012) in his father’s footsteps as a career diplomat (and in fact stage until the mid-Seventies. Her later films included was ambassador to France for two years in the 1970s), he productions shot in Mexico, Italy, Japan, Spain, and turned to writing as a career in the late 1950s. Over the elsewhere. next 50 years he wrote many novels, stories, essays, Medina was married to actor Richard Greene from 1941 screenplays, and other works. He received numerous to 1951. She was the wife of Joseph Cotten from 1960 awards and honours during his long career in letters until his death in 1994. From the mid-1960s to the early 1970s, a number of Patricia Medina’s only Mexican film appearance was in Mexican “intellectuals” took part in the film industry as the 1956 U.S.-Mexican co-production The Beast of Hollow directors, writers, even actors. Carlos Fuentes contributed Mountain , in which she co-starred with Guy Madison and to the scripts of Tiempo de morir (1965), El gallo de oro Eduardo Noriega. (1964), Pedro Páramo (1966), Los dos Elenas and Un alma pura (1965), and Aquellos años (1972), among other films (several in collaboration with Gabriel García Richard Lynch Márquez, another famous author). Original works by Actor Richard Lynch died of Fuentes were adapted to the cinema as well, including La unknown causes at his home in strega in amore (1966, an Italian film based on “Aura”). California on or about 18 June Muñeca reina, Las cautivas, and the Hollywood film Old 2012 (his body was found by a Gringo . friend on 19 June). Lynch was Carlos Fuentes married actress Rita Macedo in 1959; born in 1936 in Brooklyn and they had one daughter, Cecilia, before separating and became an actor after a stint in finally divorcing a decade later. Fuentes then married the Marine Corps. He was a Silvia Lemus, who survives him. Fuentes and Lemus had member of the Actors Studio and two children, both of whom pre-deceased their father. made his screen debut in the early 1970s. Lynch was severely burned in 1967, but later used the resulting facial scars as part of his stage and screen persona. Carlos Cobos Although he apparently never worked in a Mexican Less than two weeks after winning an Ariel as Best Co- movie, Richard Lynch had two peripheral connections to Starring Actor for his role in Pastorela , the Mexican film industry, appearing with Jorge Rivero in Carlos Cobos died in Mexico City on the 1996 movie Werewolf (a U.S. production shot in 13 June 2012. Cobos had been Arizona), and with Mil Máscaras in Mil Máscaras vs. the hospitalised for about a month after Aztec Mummy (2007). suffering a stroke. Cobos was born in 1958; he became a professional actor after attending the Ernest Borgnine Instituto de Bellas Artes. Although Ernest Borgnine, known to millions for his many film best-known for his work on the stage, roles and the 1960s television show "McHale's Navy," died Cobos also appeared in numerous films of kidney failure on 18 July 2012 in a Los Angeles and television series. In addition to his Ariel for hospital. Ermes Pastorela , Cobos also received the Best Supporting Actor Effron Borgnino prize for Conejo en la luna , and was nominated for his role was born in in El carnavál de Sodoma . Other recent films in which he Connecticut in appeared include El infierno and El atentado . January 1917, the Cobos is survived by his wife, Lucy Escandón. son of Italian immigrants. He served in the U.S. Patricia Medina Navy for 10 years Patricia Medina, a British-born after high school, actress who made numerous turning to movies over a 40-year career, died professional acting after World War II, and made the leap in Los Angeles on 28 April 2012. from Broadway to Hollywood in 1950. Borgnine won an Medina was born in Liverpool in Academy Award as Best Actor for the title role in Marty 1919, the daughter of a Spanish (1955), and continued to work steadily in films and on father and British mother. Her television until shortly before his death. acting career began in the late Ernest Borgnine appeared in an international co- 1930s in British films and production filmed in Mexico, High Risk (1981). He was continued in Hollywood after WWII. Medina was most also in Sam Peckinpah's The Wild Bunch (1969) and The popular as a leading lady—mostly in “B” pictures—from Devil's Rain (1975), both made in Mexico. the late 1940s through the late 1950s, although she The second of Borgnine's 5 wives was Mexican actress continued to work in the cinema, on television, and on Katy Jurado, to whom he was married from late 1959 until

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The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012) mid-1963; he was later the husband of singer Ethel the “big two” prizes (Best Film, Best Direction) gave Merman for just one month, but his fifth and final marriage Pastorela the edge overall. The film earned over $3 lasted 39 years, from 1973 until his death. million at the Mexican box-office, despite being released late in the year (November) to capitalise on its seasonal plot (in contrast, Días de gracia wasn’t released The “Best” of 2011 theatrically until 2012). Thematically, it's interesting to note the common It’s difficult to discern a pattern in the Best Film Arieles threads which run through the three Best Film 2011 in recent years. Some of these are clearly “festival films” nominees: all 3 deal with crime and corruption in (Stellet licht, Lake Tahoe ), while others are more popular contemporary Mexico. Miss Bala deals most specifically and/or Mexico-centric ( El infierno, Cinco días sin Nora ), with drugs, while Días de gracia is hardest on the police, albeit with enough of an international “hook” to make and both of these movies show the involuntary descent of a them exportable. basically decent person into lawlessness. Pastorela , a Pastorela seems less comedy, is necessarily less acidic in its portrayal of likely to be Mexico's problems, with police who are depicted as more intellectually buffoonish and selfish than dangerously corrupt (although accessible to foreign they certainly abuse their power and authority). Miss Bala audiences, not is the most conventional in story and form; Días de gracia necessarily because has a complicated but still relatively realistic plot that is of its particular obscured by the technique, while Pastorela is a bizarre theme, but because comedy-fantasy told in a fast-paced but largely standard of its anarchic film style. formal structure. This is a bizarre fantasy-comedy which is strange and confusing rather than hilarious (at least for me, a non- Pastorela [Christmas Play] (Las Prods. del Patrón- Mexican), though very well-made and -acted. FIDECINE-IMCINE, 2011) Exec Prod : Rodrigo Herranz Pastorela is a more humorous take on the same sort of Fanjul, Emilio Portés, Iván Ruiz; Prod : Rodrigo Herranz; story—a man’s obsession with a religious-social event— Dir-Scr : Emilio Portés; Photo : Damián García; Music : seen in Ánimas Trujano (1961) and El Elegido (1975). A Aldo Max Rodríguez; Line Prod-Prod Mgr : Issa Guerra; printed message informs viewers that the pastorela (sort of Film Ed : Rodrigo Rios Legaspi, Emilio Portés; Prod a Mexican Christmas pageant) has evolved from a means Design : Alejandro García; Special Makeup : Roberto Ortiz; of religious instruction to a form of entertainment in which Visual FX : Gretel; Special FX : Chovy; Sound Design : the Devil has become the central, most interesting and Mario Martínez amusing character (the pastorela scenes in Buñuel’s La Cast: Joaquín Cosío ( Chucho Juárez ), Carlos Cobos ilusión viaja en tranvía are a good example of this). (Padre Edmundo Posadas ), Eduardo España ( compadre In the small Mexico City barrio of San Miguel de Bulmaro Villafuerte ), Ana Serradilla ( nun ), Ernesto Yáñez Nenepilco, police agent Chucho Juárez always plays the (“God” ), Devil, but in 2009, various events conspire to deny him the Dagoberto role: the parish priest dies (while having sex with a nun) Gama and is replaced by exorcist Padre Mundo, who’s told to run (Comandante ), things with a firm hand. Héctor Chucho misses the Jiménez pastorela organizational (possessed meeting and his role is boy ), Eduardo given to diminuitive Manzano cabbie Bulmaro. Chucho (Cardinal ), is chagrined then José Sefami outraged when Padre (El Tuerto ), Mundo refuses to reverse Rubén his decision. Eventually, Cristiany the priest apologises and (Archbishop ), offers Churcho the role of the Archangel, replacing an Silverio unsatisfactory (drunken) parishioner. Chucho accepts, but Palacios ( Dr. he continues to scheme to regain his position as the Devil. Godínez ), Despite his fear of the larger man (who mobilises his María Aura colleagues in the police force to help), Bulmaro stubbornly (reporter ), Omar Ayala ( agent 1 ) refuses to yield. Notes : Pastorela won 7 Arieles--Best Film, Best After a series of difficult-to-describe (and/or explain) Direction, Best Screenplay, Best Co-Starring Actor events, Chucho and Bulmaro are captured and stuffed in (Cobos), Best Costumes, Best Makeup, Best Visual the trunk of a car by agents of the police (Bulmaro has Effects—and although Días de gracia won 8, taking home been accused of murdering a prosecutor and a large reward 4

The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012) has been offered). The rest of the police, meanwhile, have doors shut with a wave of his hand, the imprisoned been arresting everyone they can find in a Devil costume “Devils” somehow break free from jail, and finally Chucho (picking up a Santa Claus as well—he doesn’t have horns, vanquishes the Devil with his sword, carving a zig-zag of but he’s wearing a red suit) in hopes of finding Bulmaro. glowing light into the Evil One’s chest (the horde of Padre Mundo is frantic, because the judges of the National minions also display this “wound” and collapse). Pastorela Contest are scheduled to watch his group’s Since I’d read very little about the film before I saw it, I performance and the Cardinal himself will be in was expecting a more “realistic” film about Chucho’s attendance, yet he has no Devil and no Archangel! attempts to regain his role (and his pride), rather than a Finally, the priest is convinced that he must play the wacky fantasy-farce. Not that Pastorela is a failed film Devil’s part (and the tipsy Archangel will have to do his (and certainly Emilio Portés can make whatever sort of best in that role). movie he wants), but it probably would have also worked Chucho escapes, killing one of his fellow police agents, as a more conventional comedy, either character-driven or but leaves Bulmaro in the car’s trunk. He arrives at the slapstick (or a combination of the two). Conversely, it’s theatre and assumes possible that a more outré version would have also been the role of the successful, leaning even more heavily on the fantasy Archangel opposite elements, perhaps making it more explicit that this Padre Mundo’s particular pastorela was a confrontation between Good and Devil. Meanwhile, Evil. As it stands, the final sequences are confusing, the police (disguised because Chucho (who wants to be Devil) takes the role of as angels) surround the good Archangel (but he still acts crazy and violent) the building in hopes while the generally-sympathetic Padre Mundo is the evil of capturing (or Devil (is he acting? Or has he been actually possessed?). killing) the “assassin” Bulmaro and his accomplice So when Chucho kills Padre Mundo, we’re conflicted— Chucho, but are suddenly attacked by the horde of did Chucho do a good thing or a bad thing? A little more costumed Devils, who have escaped from detention. clarity might have helped, I’m just saying... Bullets don’t stop them, so the “angels” pull their swords There is a bit of social commentary in the movie, but and the battle is joined. Inside, Chucho and Padre Mundo mostly aimed at easy targets: the corrupt police, the duel on the stage: just when it appears evil has triumphed, corrupt Church... Chucho plunges his sword into his opponent’s chest. The Pastorela is very well made, with excellent use of “Devil” collapses and so do all of his minions outside, location shooting, very good special effects, and fine vanishing into thin air. acting all around. Joaquín Cosío, Carlos Cobos, and Several years later, we see Chucho in his Devil costume Eduardo España stand out—because they have the most to performing “Highway to Hell” as part of the National do and their characters are more developed as a result—but Prison Pastorela Contest. He was convicted of murder the supporting players are also fine. Unfortunately, the after the tabloid-fueled furour regarding the “Cursed copy of the film I saw had no end credits (and the Internet Pastorela,” but since he keeps winning the prison- is oddly unhelpful in this instance) so I cannot provide pastorela prize, complete information about performers and their roles (for he’s never instance, I have been unable to identify the actress who appealed his plays Magdalena, Chucho’s daughter). case. Bulmaro Perhaps Pastorela was “too Mexican” for my taste, but was acquitted of I actually believe the formal aspects of the movie were a the charge of greater impediment to my enjoyment of the film than any killing the cultural ignorance on my part. It’s amusing enough, but prosecutor, but too frenetic and disparate to be exceptionally entertaining, through a “legal and its selection as Best Film of 2011 in the Arieles was an error” is also idiosyncratic and surprising choice. serving a prison sentence (and participating in the pastorela ). Pastorela throws so many different things on the screen Días de gracia [Days of Grace] (Días de Gracia in such fast-paced fashion that it’s never dull. Semi- Prods.-FIDECINE-Casa B Prods.-ARP Sélection- incomprehensible, yes; but dull, no. The fantasy aspects Artemecánica Prods., 2011)* Exec Prod : Adriana Bello; are sprinkled throughout, but sparingly until the wild Prod : Leopoldo Gout, Everardo Gout, Luis Sansans, conclusion—before then, we see Padre Mundo involved in Ózcar Ramírez González; Co-Prod : Laurent Pétin, an exorcism (he’s interrupted and the possessed victim Michèle Pétin; Line Prod : Ózcar Ramírez; Assoc Prod : reappears throughout the movie, stirring up trouble), Vikram Chatwal; Dir-Scr : Everardo Gout; Co-Author of Chucho has unexplained psychic powers (a beer slides Scr : Ricardo Aguado Fuentes, David Rutsala; Photo : Luis across a table into his waiting hand) in addition to a James Sansans; Muci : [2002] Nick Cave, Warren Ellis; [2006] Bondian-like super-car, and so forth. The end of the Atticus Ross, Leopold Ross, Claudia Same; [2010] Shigeru movie pulls out all the stops, as Padre Mundo—possessed Umebayashi; Addtl Music : Antony Partos; Prod Mgr : by the Devil?—repels the police and slams the theatre Ózcar Ramírez González, Alejandro Sánchez de la Peña; 5

The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012)

Asst Dir : Víctor Herrera [McNaught]; Film Ed : Hervé The film's title refers to the "days of grace" during the Schneid, José Salcedo, Valerio Grautoff [aka Everardo World Cup soccer tournament every four years, when most Gout?]; Prod Des : Bernardo Trujillo; Sound : Fernando of the world is distracted by the matches. Events occurring Cámara, Vincent Arnardi, Julién Pérez; Makeup Chief : in 2002, 2006, and 2010 are intercut. [As usual, I will not Felipe Salazar attempt to list the events in the order in which they appear *a Mexican-French co-production in the film itself.] Lupe Esparza is an honest cop, married Cast: Tenoch Huerta ( Lupe Esparza ), Kristyan Ferrer and with a child. As the movie begins, he takes two young ("Iguana" aka Doroteo ), Dolores Heredia ( Susana ), Carlos boys to a shack in the desert and threatens them with death Bardem ( Victim X ), Eileen Yáñez ( Maxedonia ), Mario if they ever deal drugs again. One of the boys is Doroteo, Zaragoza ( Melquiadez ), brother of Maxedonia. José Sefami ( Cmdte. José ), Years later, Doroteo--now known as "Iguana"--is Dagoberto Gama ( Security involved in the abduction of "Victim X," the wealthy advisor ), Harold Torres husband of Susana, (Pulga ), Sonia Couoh for whom Maxedonia (Esperanza, Lupe's wife ), works as a servant. Paulina Gaitán ( Camila ), Iguana and Victim X Miguel Rodarte ( witness ), develop a friendly Verónica Falcón relationship of sorts, (Madrina ), Francisco although Iguana is Barreiro ( Rulo ), Vikram unable to prevent his Chatwal ( Kalimán ), Sara accomplices from Manni ( woman in hotel ), chopping off one of Humberto Yáñez ( Chema ), their victim's fingers Juan Ríos ( Ramiro ), when his family is slow in paying the ransom ("You want Alberto Vargas ( Elías ), Marco Pérez ( Gabino ), Bobbie to pay the ransom in installments, we'll return him to you Sinylii ( Turco ), Elíazar Cabrera ( Bruno ) in installments"). Susana learns her husband had been Notes: It's been more than a decade since Amores having an affair and had also transferred most of his perros helped put "new Mexican cinema" on the map, money to offshore banks. internationally, and it may or may not be a coincidence In 2006, Lupe distinguishes himself and is made a that Días de gracia is slightly reminiscent of the earlier member of the "Dorados," an elite group of cops under film, in form and content. Both films have fractured Commander José. However, doing a favour for fellow cop narratives and close friend Melquiadez, Lupe becomes involved in and multiple police corruption and runs afoul of gangsters like the stories. Indian (from India) "Kalimán" and female gangster Everardo Madrina. After pressuring an informant, Lupe leads a raid Gout won that frees a kidnap victim. In revenge, his wife and child the "Best are abducted and murdered. He kills Melquiadez and First Work" Madrina, learning Cmdte. José is attempting to take over Ariel, and the latter's territory. Lupe confronts José, shooting the Días de mans’ wife and children in front of him before killing him gracia also as well. picked up 7 In 2010, Victim X's family pays the ransom. But as he additional awards (Best Actor, Supporting Actress, is being freed by Iguana, the kidnap gang's leader prepares Editing, Original Score, Production Design, and Sound). to execute him. Unlike the other two Best Film nominees ( Miss Bala and Iguana refuses to Pastorela ), Días de gracia wasn't released theatrically in allow this, and a 2011--it opened in April 2012 and managed to remain in three-way stand-off the top 30 list for 8 weeks, earning about $435,000 (in ensues--Iguana, the comparison, Pastorela took in over $3 million and Miss now-armed Victim X, Bala $1.1 million in Mexico). and the The relatively restrained domestic reception of Días de leader...revealed to be gracia may possibly be attributed to its length (2 hours, 11 Lupe! Shots ring out and both Lupe and Victim X are minutes), to competition (it opened the same week as mortally wounded. As the movie ends, Iguana takes Titanic 3D , and The Avengers and Battleship --which made Victim X's advice and goes straight, becoming a $3 million its first week in Mexico--followed shortly professional boxer. thereafter), and (if Mexican audiences were as disoriented There are so many twists and turns in Días de gracia as I was) to the film's difficult-to-follow narrative and that I'm not even sure the above is entirely correct, and excessively mannered style. there are many unanswered questions and additional [Note: plot spoilers follow. Of course, some of these aspects I omitted (to mention two: who is the father of could be incorrect anyway!] Maxedonia's child? was Susana the mastermind of the 6

The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012) kidnaping we see at the end of the movie?). Though I tried Días de gracia is frustrating and challenging to watch, to pay attention, perhaps the film was simply too complex yet my preference for more conventional film form does for me to grasp, who knows? So I won't criticise the plot not blind me to to fact that it is entertaining and or narrative of Días de gracia , but the formal aspects of dramatically compelling as well. the film seem awfully self-indulgent and unnecessarily complicated to me. It's not just the hand- held camera, bizarre camera angles, rapid- cutting, deliberately arty compositions, but also things like the voice-over interior dialogues of Victim X and the inconsistent (some might say eclectic) music score. It's as if the filmmakers found an "Encyclopedia of Film Techniques" and decided to try every single one in the same movie. There are many excellent aspects to Días de gracia -- scenes and sequences which are powerful and effective-- but the overall style is far too hyper-active. Combined Miss Bala [Miss Bullet] (Canana-Fox International with the complexity of the narrative, the film form makes Prods.-IMCINE-CONACULTA-FIDECINE-PROMECAP Días de gracia almost incomprehensible at times, not a S.A.-Nuevos NegociosDM San Luis S.A., 2011) Exec pleasant experience for an audience. Certainly, Prod : Geminiano Pineda, Gael García Bernal, Diego Luna; filmmakers aren't required to cater to the lowest common Prod : Pablo Cruz; Dir : Gerardo Naranjo; Scr : Mauricio denominator and make a simplistic work--a film which Katz, Gerardo Naranjo; Photo : Mátyás Erdély; Music : demands an attentive and analytical viewer is not a crime-- Emilio Kauderer; Line Prod : Gabriel Heads; Asst Dir : but there comes a point when the intelligence and interest Hiromi Kamata; Film Ed : Gerardo Naranjo; Art Dir : of the audience aren't the issue. Of course, this may only Ivonne Fuentes; Sound Design : Pablo Lach, Salvador be my opinion: everyone else might find the intricately- Félix; Union : STIC entwined stories and the frenetic film form perfectly Cast : Stephanie Sigman ( Laura Guerrero ), Noé complementary and delightfully challenging. Hernández ( Lino Váldez ), Lakshmi Picazo ( Azucena The performances in Días de gracia are very good, “Suzu” Ramos ), Leonor Victorica ( Laisa James ), Irene although most of the attention is focused on Lupe, Azuela ( Jéssica Verduzco ), José Yengue ( Kike Cámara ), Doroteo, Maxedonia, Susana, and Victim X, with flashy James Russo ( Jimmy ), Miguel Couturier ( Gen. Salomón support from Cmdte. José, Madrina, etc. Tenoch Huerta Duarte ), Gabriel Heads ( Agent Raymond Bell ), Juan Carlos (Lupe) and Eileen Yáñez (Maxedonia) both won Arieles Galván ( Arturo ), Javier Zaragoza ( Ramón Guerrero ), for their work, but such awards are so subjective that Eduardo Mendizabal ( Quino ), Sergio Gómez Padilla suggesting they "deserved" the prize more than Krystan (Parca ), Gabriel Chávez ( pageant emcee ), Felipe Morales Ferrer or Mario Zaragoza (both of whom were also (Tío ), Sergio Miguel Martínez ( Cali ), Luis Francisco nominated) or Dolores Heredia (who wasn't) is pointless. Escobedo ( Roca ), Leticia Huijara Cano ( dress shop One curious casting choice should be mentioned--Vikram salesperson ) Chatwal, a well-known businessman of Sikh extraction, Notes: though nominated for 3 Arieles (Best Film, plays a turbaned gangster nicknamed "Kalimán." Chatwal Director, and Actor) and Mexico’s official entry in the (who has appeared in other films) is also credited as an U.S. Oscars, and one of the top 10 box-office Mexican associate producer, which makes one wonder--which came films of the year, Miss Bala probably did not achieve the first, his investment in the movie or his role in it? level of success the filmmakers might have expected. Nonetheless, he's fine in the role, adding an exotic touch to Largely a conventional film—particularly compared to the otherwise Mexican cast (Carlos Bardem, Javier's Pastorela and Días de gracia , the other two Best Film brother, plays Victim X but is not stereotypically nominees—Miss Bala is an excellent, well-made drama "Spanish" in his role). but doesn’t offer the sort of flashy novelty that might have My criticism of the formal aspects of Días de gracia is drawn more attention. more philosophical than technical--the cinematography, Intended or not, Miss Bala can be read as an allegory of editing, sound (all Ariel winners) are fine in and of Mexico’s struggles with the drug trade. Protagonist Laura themselves, as much as I might carp about the final result. (= the Mexican people) is beaten, raped, exploited, abused, The French contribution to the film isn't obvious (it was and humiliated, receiving a few crumbs of reward but— probably mostly $$), but Hervé Schneid ( Amélie ) did co- since she doesn’t commit to the side of the narco- edit the picture. traffickers—is eventually discarded when her usefulness is

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The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012) at an end. She lives in a hellish world where people try to After all this, Laura is dropped off again at the "Miss carry on some semblance of normal existence, but gun Baja California" contest where--despite her stunned state battles erupt in the streets, explosions are heard in the which renders her incapable of answering the simplest distance, anyone (especially the police and government question posed by the emcee--she is chosen the winner (to officials) can be (and probably is) corrupt, and every the obvious dismay of the other contestants). Lino picks aspect of one’s life is tainted by the drug trade. her up afterwards and drives her into the desert. He gives An alternate (or complementary) reading would be a her a choice: she can stay with him or walk away, but has feminist one: Laura represents women who are exploited to leave the area forever. She stays and has and abused by men, who serve as passive sex objects, and (uncomfortable) sex with Lino in his truck. The next day, who have no control over their own destinies in the male- Laura attends a reception and is introduced to General dominated world. There certainly have been films about Duarte: Lino instructs her to agree to meet the police men caught up in the narcotics trade, but Miss Bala adds official in his hotel room. She does, and is present when some specific touches which emphasize the "double the suite is attacked and various people are killed. Lino is jeopardy" of Laura Guerrero, both as a Mexican and a reported dead, but it was merely a ruse--Duarte, in on the woman. farce, also survives. Laura is arrested and paraded before [The film is loosely based on the real-life case of Laura the press with some other fall guys. As the film concludes, Zúñiga, who participated in the 2008 “Nuestra Belleza” she's driven off to prison, but the van stops and she's pageant as the representative of Sinaloa, and later won the unceremoniously dumped out in the street, still “Reina Hispanoamérica” title, before being arrested in handcuffed. Jalisco with her narco boyfriend. She later claimed to Some have criticised Miss Bala for the passive nature have been kidnaped and to have been unaware of her of its protagonist. Laura is manipulated and exploited by boyfriend’s criminal activities, but it was rumoured that Lino and goes through the film in a sort of daze. This is her beauty pageant success had been purchased with drug understandable, and in fact she does rebel in a few, small money.] ways--she tries 23-year-old Laura sneaks out with her friend Suzu to to leave town, apply for a she withholds an spot in the important “Miss Baja message she was California” supposed to pass contest. to Lino, she She’s attempts to warn accepted, but General Duarte that night she of the impending and Suzu are attack--but she has little chance of escaping the quagmire in a nightclub into which she's stumbled. Even Lino's offer to let her when a group walk away is a mirage: she's in the desert in the middle of of armed men the night, wearing an evening gown and high-heeled shoes, assault the customers. Laura escapes; the next day, she how far could she go? And she's also told she must leave tries to locate Suzu but is betrayed by the police to the town and can't even go home to her family. Her reactions drug gang led by Lino Váldez, one of the men who are actually fairly realistic, definitely moreso than if she'd attacked the club. Lino has Laura serve as a decoy for suddenly turned into a kind of female Charles Bronson, some drug agents, then arranges to have her reinstated in fighting back against the drug trade. the beauty pageant, giving her a cell phone and some On the other hand, Laura's character is hardly money to buy a gown for the event. Laura starts walking developed at all, making it difficult to truly empathise with out of town, but is caught by DEA agents, who confiscate her. We don't know what she does with her time, what her the telephone. Returning to her home that night, Laura is personality is like, why she wants to enter the beauty shocked when a wounded Lino and some henchmen arrive. pageant, and so forth. Even before she becomes embroiled She understands in the violent world of drug smuggling, she seems rather her father and quiet and diffident, even colourless. Although actress brother's lives are Stephanie Sigman is an attractive young woman, Laura at stake, so she looks far more "ordinary" than the other pageant agrees to contestants--which was almost certainly deliberate on the cooperate with the part of director Naranjo--and seems less out-going and drug smuggler. self-assured. Sigman does a decent job in the role but she Lino sends her to doesn't have a lot to work with. the USA with a Similarly, Noé Hernández is satisfactory as Lino-- large sum of cash although his nomination for a Best Actor Ariel was a bit of (taped to her body); she is given a name and a message for a surprise--but has no scenes or dialogue which reveal his Lino. Returning to Mexico, she's caught in a violent street inner feelings, background, or character. He's efficient and battle but rescued by Lino's men. ruthless in his "job," takes an instant liking to Laura and 8

The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012) treats her (in the main) fairly kindly, but that's about it. sacristan ), Juan José Laboriel ( Apolonio ), Juane Niles Lino is not a typical movie drug kingpin--he looks more (Siro ), Lupe Melin ( Margarita, Fabiola's mother ), Juan like an auto mechanic--and in fact his exact position on the Orol ( offscreen narrator ) totem pole is another thing Miss Bala never bothers to Notes: Pasiones tormentosas is a fairly unique film in explain. Is he a really powerful boss, or the leader of a Juan Orol's oeuvre , as it is one of the few movies he made minor, local gang, or a mid-level functionary of a large that has a supernatural theme ( Zonga, el ángel diabólico organisation? has some vague witchcraft overtones, but it was based on a The production values of Miss Bala are adequate. pre-existing comic strip). Add good, authentic music, a Much of the movie was shot on location (the filmmakers relatively short running time (76 minutes), decent disguised the nature of the plot to avoid trouble from the production values and photography, and María Antonieta local drug cartels) and the technical aspects are slick and Pons looking extremely beautiful, and the result is an professional. The action scenes aren't glamourised, but are entertaining picture. On the negative side, Orol instead loud, chaotic, and frightening. overwhelms the viewer with musical numbers at the Miss Bala is a well made movie but it's not a expense of the drama--the actual plot is extremely thin-- completely satisfying viewing experience. There’s no and the paucity of drama gives the performers little chance happy ending, but even more daunting for the spectator is to shine: Crox Alvarado is wooden, Yadira Jiménez is a the absence of any stereotyped bad-girl, and Pons looks marvelous but plays a sort of resistance or not wholly sympathetic character despite being the objection to the nominal heroine. reign of terror on the The film begins with voice-over narration by Juan Orol. part of the film’s On a dark and stormy night in a tropical region, a small characters. There is town priest is awakened by the arrival of Fabiola, a young no hero or heroine woman who says he's needed to hear the confession of a who protests, who dying man. The priest, new to the region, is told by his stands up for their sacristan Francisco that the village Fabiola refers to is basic rights, who long-abandoned, but they agree to accompany her anyway. even verbalises a After an arduous journey, they enter the ruined town. In desire for progress. Some might say this is a “realistic” one of the houses, José lies on a bed, mortally injured. He picture of conditions in certain areas of Mexico, and to tells the priest his story... suggest otherwise would be deceptive and lessen the José and Fabiola live in the happy, lively village. They impact of the message. But what message? That are engaged to be married, organised crime has made life unbearable and there is no but Fabiola's half-sister way out? Miss Bala is thus made a profoundly depressing Sandra is jealous and covets film by its lack of hope . José. He rejects her. Fabiola and José wed, but Sandra obtains a love potion Even More Juan Orol! from the local witch (doesn't Pasiones tormentosas [Stormy Passions] every village have one?) and (España-Sono Films, 1945) Prod-Dir-Adapt : Juan Orol; bewitches the groom. They Story : Alfonso Díaz; Photo : Domino Carrillo; Music Dir : are discovered in bed Max Urban; Prod Chief : Guillermo Alcayde; Asst Dir : together. Since this betrays Julio Cahero; Film Ed : José Marino; Art Dir : José the traditions of the town-- Rodríguez G.; Camera Op: Enrique Wallace; Makeup : depicted as a place ruled by Conchita Zamora; Sound Op : B. J. Kroger, Francisco superstition and custom-- Alcayde; Sound Ed : José and Sandra are tied to Lupe Marino racks and stoned in the Cast : María village square. Fabiola tries Antonieta Pons to protect José but is struck (Fabiola ), Crox by a stone herself and carried Alvarado ( José off, unconscious. José Morúa ), Yadira breaks free and bitterly clubs Jiménez ( Sandra ), the bound Sandra to death, Jorge Mondragón then staggers off badly (priest ), Salvador injured, as the villagers Quiroz ( Tomás ), Kiko continue to pelt him with Mendive ( Canillitas ), rocks. [end of flashback] María Enriqueta Reza The priest absolves José (witch ), Richard of his sins. The priest and Roberson ( Ramón ), Pitouto [Pedro Elviro] ( Francisco, sacristan depart, but have to return to the house to retrieve

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The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012) their umbrella. As they watch, José turns into a skeleton really a joke--in which Fabiola's mother repeatedly before their eyes, Fabiola vanishes into thin air, and the criticises Sandra, her step-daughter). interior of the house becomes a dusty ruin. Technically, the picture looks very good. Filmed The priest explains what occurred: "50 years" before, almost entirely in the studio, the sets are extensive (but still José died of his injuries but because he didn't receive the obviously studio-shot "exteriors") and well-lit. Orol even last rites, his soul was never laid to rest. Fabiola also uses some discreet camera movement (mostly slow perished, but she went to Heaven and interceded for her tracking shots) during the musical numbers. There are a husband, allowing them both to return to Earth so José few gaffes, including one sequence in which a villager's could confess his sins (not that he actually did anything singing drowns out the wrong, it was all dialogue between José Sandra's fault). Once and his friends, and an this was done, his out-of-sequence shot body--which was (Sandra is suddenly never buried--became shown sitting at the a skeleton. Fabiola lovers' palm tree, merely vanished clearly part of a later because she had been scene), but for the most buried in sacred part Pasiones ground years earlier. tormentosas looks very [How the priest slick and professional knows all of these things is unexplained.] The priest and (particularly considering Los misterios del hampa , Orol's his assistant leave the abandoned, cursed village. prior effort, was quite shabby in appearance). Pasiones tormentosas could have been a much better Although there are too many musical numbers, film had Orol chosen to elaborate on the story and it's only fair to concede that these are rather entertaining on dispense with a few of the songs. The idea that the village their own. One of the songs is a cumbia , a rather unusual is ruled by some sort of pagan rites is interesting. There musical genre for the period. Pons, Jiménez, Kiko are references to José being part of a "tribe" (although no Mendive, and several other performers demonstrate their one looks too singing and/or dancing talent (Crox Alvarado even "sings" indigenous--the a duet with Pons, but is obviously dubbed). In-joke: one of villagers are a mix of Kiko Mendive's songs references "María Antonieta Pons," whites, mestizos, and and Fabiola asks "Who's that?" to which he replies "Oh, blacks), there is a some dancer." Pons, as noted above, looks marvelous and tradition requiring seems to be enjoying herself immensely as she dances. lovers to sit under a Pasiones tormentosas was her penultimate movie with sacred palm tree Juan Orol: almost immediately after shooting this one in before they are the fall of 1945, she made Embrujo antillano and then their married, the personal and professional relationship came to an end. "wedding" itself is Pasiones tormentosas represents a missed opportunity performed by in some respects, but is still an interesting and generally Fabiola's father (the village headman, not a priest) who entertaining film. smashes a cup as part of the ritual, the adulterers are condemned to death by stoning, and so forth. The bruja is a stereotypical Mexican cinema witch who lives in a hut Friends in High Places cluttered with herbs, idols, a live owl, etc., and cackles The new First Lady of Mexico, assuming the election madly for no reason at all. of Enrique Peña Nieto is confirmed, will be actress Unfortunately, the dramatic portions of the movie are Angélica Rivera (mostly a telenovela performer, but she brief interludes between the various songs and dances. can be seen in the film comedy Aquí espantaan! ). Rivera [Sandra: "I love you married Peña Nieto in 2010 (he was a widower) and thus José!' José: "Well, I becomes the latest in a long line of Mexican film don't love you, I love performers to have close connections in the upper regions Fabiola!" Fabiola: of politics. "Sandra, stop trying to This does not count those who’ve actually participated steal my fiancé!" Sandra: in the political process themselves, such as María Rojo, "You'll see, I'll take him who served in Mexico’s national legislature. away from you!" And so Some random examples: on and so forth. ] As Rodolfo Landa : brother of Mexican president Luis usual for Orol, there are Echevarría sub-plots which never Christiane Martel : married to Miguel Alemán really develop, including the unrequited love of another Velasco, son of former Mexican president Miguel Alemán villager for Sandra (there's also an amusing motif--not Valdés and himself governor of Vera Cruz 10

The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012)

Sasha Montenegro : wife of former Mexican president Crates of Thebes, a Greek philosopher who renounced all José López Portillo worldly goods), although the tone of El cambio is more Irma Serrano : by her own account, mistress of blackly humourous than that of Crates . Mexican president Gustavo Díaz Ordaz; she also served in A TV crew from the program "Siete Sorpresa" Mexico’s legislature ("Channel 7, the favourite of housewives") pays a random Silvia Pinal : married to Tulio Hernández, governor of visit to the home of Leobardo Crates, only to discover a the state of Tlaxcala; she also served in Mexico’s news story in the making: he is giving away his legislature possessions (and money) to his friends and acquaintances. Natalia “Kiki” Herrera Calles : granddaughter of When one man (played Mexican president Plutarco Elías Calles by director Joskowicz) Gastón Santos : son of Gonzalo N. Santos, governor of suggests Crates is San Luis Potosí joking or may change his mind, Crates threatens to burn down Alfredo Joskowicz Films his own house to prove his point. Some time later, Crates is living on the street (and in the forests and fields), eating from the trash, consorting with derelicts, and engaging passersby in conversation (as he offers them fragments of a loaf of bread). He is joined by one young man who, after Crates falls asleep, ransacks his bag in search of valuables. Later, a young woman who has (apparently) over-dosed on drugs leaves her hospital room and—along with her brother--decides to share the lifestyle of Crates (since they Crates (CUEC, 1970) Dir : Alfredo Joskowicz; Scr : were both present in Alfredo Joskowicz, Leobardo López; Photo : Luc Toni his house in the Kuhn; Prod Chief : Guillermo Díaz Palafox; Film Ed : Juan opening sequence, Ramón Aupart; Sound : Rodolfo Sánchez A. apparently they are Cast: Leobardo López [Aretche] ( Leobardo Crates ), old acquaintances). María Elena Ambriz ( young woman ), José López After some time, the [Aretche] ( brother ), Gonzalo Martínez [Ortega] ( Adrián brother rejects living Armendáriz, TV host ), Javier Audirac ( "disciple" of in poverty and returns to his bourgeois home. The young Crates ), José Rovirosa, Brian Nissen, Monserrat Pecanins woman becomes pregnant and eventually gives birth to (woman in Crates' house ), Emilio Cárdenas ( man in Crates' child in a cave (Crates severs the umbilical cord Crates' house ), Alfredo Joskowicz ( man in Crates' house ), with his teeth). As the film concludes, the little family Carlos Ancira ( voice of Crates ) strolls off, observed from afar by the brother. Notes: Crates was the second feature--and the first Little or nothing really happens in Crates , and the 73- fictional feature--produced by students at the Centro minute running time feels much longer. After the opening Universitario de Estudios Cinematógraficos (CUEC). Shot sequence, there is almost no dialogue, and all of the scenes on 16mm and in black-and-white, the movie was never play out in an extremely released commercially and shown only on college leisurely pace. There is no campuses and in cine-clubs (director Joskowicz, in the discussion of the reasons for liner notes for the 2007 UNAM DVD release of El cambio Crates' actions, and the movie and Crates , says only 2 or 3 prints were ever struck). Co- alternates between images of writer and star Leobardo López Aretche (director of El extreme poverty, filth, and grito , the first CUEC feature) committed suicide several degradation and sequences months after Crates was shot, and his (minimal) dialogue which are almost ludicrously was post-dubbed by actor Carlos Ancira. idyllic and romanticised After making Crates , Alfredo Joskowicz directed El (there are probably more of the former than the latter, cambio , which--while still not a "commercial film"--was at however). In the El Cambio/Crates liner notes, Joskowicz least in colour, had sync sound, and featured several writes "what was important then was to film with the most professional actors (Sergio Jiménez and Héctor Bonilla). absolute freedom of expression," and Crates features El cambio 's very late-'60s hippie-like theme of the nudity, a discrete sex scene, urination, defecation, and the rejection of modern society and its possessions was carried aforementioned childbirth footage, all of which would over from Crates (which in turn was based on the life of have been highly unlikely to appear in an "industrial" production of the period. 11

The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012)

Given the paucity of dialogue (and what dialogue exists Fernando Moreno; Makeup : Graciela González M.; Sound : was post-dubbed), the performances are difficult to Víctor Rojo; Union : STIC evaluate. Leobardo López Aretche had studied acting with Cast: Blanca Guerra ( mother; La Ondina ), Roberto Seki Sano and is very naturalistic in the title role (viewers Sosa ( Diego ), Sergio Jiménez ( Fulgor ), Tomás Leal today may be struck by his resemblance to Zach (Crescencio ), Sergio Bustamante ( don Abusivo ), Manuel Galifianakis) although, again, he mostly just wanders Ojeda ( Esteban ), Evangelina Sosa ( Azucena ), Guillermo around and we never hear most of his conversations with Ríos, Ignacio Retes ( compadre ), Jorge Fegan ( municipal people or get any sense of why he "dropped out" or president ), Roberto Sosa Rodríguez, Francisco Zañudo, whether he's content with his new life. Presumably he is: Andrés Caballero, Rafael Padilla, Pablo Mandoki, Brigitte the final shots of the Broch; Grupo "Tres"--Eduardo Borbolla, Agnes Limbos, movie suggest that he Rafael Degar, Fernando Baena; Jorge Humberto Robles and his new family are (voice of Zirán ) "free" and happy as they Notes : El caballito volador was a change of pace for wander along a country director Alfredo Joskowicz, whose previous features were, road. if not overtly "experimental," at least serious and adult- Crates is technically oriented independent films. However, El caballito volador satisfactory: although a is a children's film (although entertaining enough for few sequences are adults) made for one of marred by spots on the the government camera lens or something, the film has a distinctive yet not “commercial" production amateurish "look." Editor Ramón Aupart and sound companies. Although the engineer Rodolfo Sánchez were both instructors at CUEC special effects may today and industry professionals; the cinematographer was Toni seem quaint and crude, at Kuhn, who would shoot most of Joskowicz's features and least some of this seems to work with many other independent directors of this have been a deliberate generation. The score consists of canned music, ranging attempt to incorporate from classical to folkloric, and is generally appropriate. folkloric motifs into the picture. Furthermore, one Not especially entertaining or profound, Crates is wonders if slicker, more "realistic" effects, costumes, and nonetheless an interesting and relatively accomplished sets would have been effective or would have changed the first work, in addition to being historically important as the tone of the film significantly. first fictional feature made by CUEC students. The music score is worth noting, since it won an Ariel for Rafael Elizondo. Some of the music is quite nice, and various folkloric themes (as well as a song by Francisco El caballito Gabilondo Soler "Cri-Cri") are incorporated, but at other volador times the score is overly emphatic and tries too hard to [The Flying reinforce the humour of what's occuring onscreen. Perhaps Pony] this is a result of the designation of El caballito volador as (CONACITE a "children's movie," but it seems slightly heavy-handed DOS, 1982) nonetheless. In balance, however, the score is effective and Dir : Alfredo pleasant. Joskowicz; Scr : Diego lives with his mother and father in a rural area of Francisco Mexico (much of the film was shot on location in Hidalgo) Serrano, that has been suffering from a protracted drought. Diego's Patricia Van father Esteban is ready Rhijn; Collab : to relocate to Tabasco, Alfredo where he's been told Joskowicz, there is plentiful rain for Joaquín Torres; crops, and the soil is so Photo : Toni rich one doesn't even Khun [sic]; need to fertilise when Music : Rafael planting. Local cacique Elizondo; Prod don Abusivo--who has Mgr : Hugo plenty of water on his Green; Asst Dir : Daniel González Dueñas; Film Ed : land--has been conspiring with the corrupt local municipal Federico Landeros; Art Dir/Costumes : Francisco president to take over the "abandoned" farmland for his Magallón; Visual FX Director : Juan Muñoz Ravelo; Visual own benefit. FX Realisation : J. Carlos Muñoz Amicuz; Cameraman : On his saint's day, Diego receives a wooden horse from Antonio Ruiz; Camera Op : Alberto Arellano; Lighting : his godfather. That night, he flies away on the horse-- which can talk, and is named Zirán--to a magical land. He's told that the water fairy, Ondina, can help him locate 12

The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012) water on his father's farm. After many arduous adventures fantasy world, he apparently doesn't notice that La Ondina in fantastic locations, Diego meets Ondina and receives a is identical in appearance to his mother, or that the Devil = dowsing rod as a gift. don Abusivo, or that Fulgor and Crescencio are the same When he awakes the next morning, Diego uses the rod in both planes of existence. Additionally, the conclusion to locate water, forestalling the forced emigration of the of the fantasy sequence is odd, with both Zirán and local farmers, and foiling the scheme of don Abusivo. Azucena abandoning Diego before he reaches La Ondina. The first third of the film takes place in the "real" The performances, as noted above, vary in style. Sergio world, and depicts the farmers' fruitless search for water, Bustamante is extremely entertaining every moment he's as well as the on-screen: he's so flamboyant sinister but that it's difficult to take him bumbling seriously, but he's hilarious attempts of nonetheless. Sergio Jiménez is Abusivo and his also good (and from a 2012 two incompetent point of view, looks a lot like henchmen-- Jim Varney) but Tomás Leal Fulgor and has little to do (and his injured Crescencio--to hand is a bit off-putting: unlike gain control of Fulgor's eye-patch, which is the land. part of his characterisation, one feels Leal's hand was Abusivo is vain, actually hurt at this time, and at least subconsciously this slightly effeminate (although he has a daughter, Azucena, affects our perception of him). Roberto Sosa is completely who befriends Diego), and (as one would expect) abusive natural as Diego, and it's not difficult to see why he grew towards his employees and everyone else. Fulgor (who up into a fine adult actor; his sister Evangelina Sosa is cute wears an eye-patch) and Crescencio (who has an injured and competent but has little to do. Blanca Guerra and hand) are cowardly bullies. Manuel Ojeda are professional as usual. In the fantasy world, Diego and Zirán are still pursued Interestingly enough, Zirán the Flying Pony has by Fulgor and Crescencio, now henchmen of the Devil virtually no personality. Voiced (who strongly resembles don by Jorge Humberto Robles, Abusivo). Azucena also exists Zirán is minimally animated (his in this alternate dimension, but eyes blink, his mouth opens a here she is the goddaughter of La bit, and his legs move in a Ondina. Diego and Zirán travel mechanical fashion) but has little through various locations, to say and nothing especially including a fantastic garden, the profound. He's essentially just a land of fire, a room with wooden horse who can fly and multiple doors (at different angles), and the land of the talk, not a true spirit guide or dead (basically, skeletons having a party in a graveyard). mentor for Diego. These are a combination of sets and very obvious optical El caballito volador is interesting and never boring. effects (for the backgrounds), The open artificiality of the fantasy world and the and most of the denizens of occasionally crude special effects may not be to everyone's the world are clearly wearing taste, but the film is worth watching for Sergio Bustamante masks (in other words, no (and to a lesser extent, Sergio Jiménez) alone. particular effort is made to

disguise the fact that these are people in costumes). While Playa azul * [CONACULTA-IMCINE-FFCC-Noos this artificiality makes El Films, 1991) Exec Prod : Gerardo Moscoso; Assoc Prod : caballito volador look rather Miguel Necoechea; Dir : Alfredo Joskowicz; Scr : Víctor like a stage presentation or a Hugo Rascón Banda, Alfredo Joskowicz; Collab : Teresa low-budget children's Velo; Orig. Play : Víctor Hugo Rascón Banda; Photo : television program, it's not necessarily a fatal blow to the Rodolfo Sánchez Santinelli; Music : Amparo Rubín; Prod film's effectiveness. Mgr : Esteban Osorio; Asst Dir : Javier Durán; Personal More importantly, the main characters perform in a Asst to Dir : Francisco Athié; Film Ed : Francisco Chiu; Art very sincere fashion, although this ranges from naturalistic Dir & Costumes : José Méndez; Sound : Miguel Sandoval; (Diego, his parents, their friends) to ultra-hammy (don Makeup : Lucrecia Muñoz; Union : STIC Abusivo, Fulgor, Crescencio). The creatures in the fantasy *U.S. DVD title: Beach Hotel world, on the other hand, perform in a very broad manner, Cast: Sergio de Bustamante ( The Engineer ), Pilar reinforcing the feeling of unreality. Pellicer ( The Señora ), Mercedes Olea ( Silvia ), Lourdes Although El caballito volador 's plot is reasonably Villareal ( Teresa ), Ignacio Retes ( Matías ), Mel Herrera straight-forward, there are a few minor problems. For (Sergio ), Juan Carlos Colombo ( Magallón, lawyer ), example, although Diego recognises Azucena in the Guillermo Gil ( governor ), Guillermo Ríos ( policeman 13

The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012) rapist #1 ), Gerardo Moscoso ( police chief ), Ana Luisa although at the moment it's awkward because his bank Pardo & Yadira Santana ( rape victims ), Adrián Gómez accounts have been frozen due to the investigation. (Sergio's Over the next several days, the relationships between the friend ), Martín family members López & Jesús are exposed. García Ramón Silvia says she (policemen heard her father rapists #2 and procured women 3) for the Licenciado, Notes: and that her Alfredo mother once Joskowicz's worked in a final fictional feature (he subsequently made several brothel. Sergio, documentaries), an adaptation of a well-known play by some time before, was abducted and assaulted by 3 corrupt Víctor Hugo Rascón Banda, was produced in 1991. Well- policemen who killed his friend and raped two girls who made and acted, Playa azul is still recognisable as a film were with him; he accuses his father of not having paid the made from a play--it's structured around a series of ransom to save him, and has been under psychiatric conversations--although Joskowicz and Rascón Banda treatment ever since. The Señora is estranged from her make several attempt to open it up for the cinematic husband and Silvia, but dotes on Sergio. medium. For example, some dialogue takes place on an The Engineer asks Teresa to take a letter to the state actual beach, Pilar Pellicer's character wades into the sea, governor--whom she knows--requesting assistance in his there is a flashback sequence to an earlier assault, and one current troubles. In addition to his own legal troubles, the scene--a reception attended by the governor and some Hotel Playa Azul is to be destroyed so a new highway can beauty contest queens-- is set away from the Hotel Playa be constructed through the property. The governor Azul. One assumes most if not all of these were added for promises only moral the film version, and while Playa azul remains rather talky, support, and the it's not boring or static. Engineer realises his Contrary to the description in The Mexican situation is growing Filmography (written before I'd seen the movie), Playa desperate. He asks his azul is not specifically set in the 1950s. Indeed, the family to rally around, costumes and cars seem more or less contemporary (it's saying they can revive possible the original play, first performed in 1982, was a the Hotel Playa Azul period piece). My bad! and use it as the means The protagonist of the film is referred to as "El of recovering their Ingeniero" (The Engineer): the English sub-titles on the fortune. Silvia refuses: she has a young daughter, a new U.S. DVD usually translate this as "Sir," and translate apartment, and a responsible job waiting for her in Mexico "The Licenciado" as "The Man." In Mexico, individuals City. The Engineer's wife also won’t stay; Sergio agrees to with university degrees are often referred to by their work with his father, but when he's promised the position degree as a sign of respect--Licenciado, Ingeniero, of hotel manager, this upsets Teresa, who has been Arquitecto--regardless of faithfully employed by the family for years. After Silvia the actual profession they says she has no room are practicing. In fact, in for Teresa in her Playa azul "The Engineer" Mexico City apartment, has just left his post as a the older woman bank president, although commits suicide, previously he had setting off to sea in a apparently worked as a small boat. A civil engineer, in addition telephone call from his to being the right-hand man lawyer informs the of the late Licenciado, a powerful politician. Engineer that he has Accusing of fraud, the Engineer has fled to the Hotel two choices: leave for exile in the USA (although earlier Playa Azul, a run-down resort he owns in the state of the Engineer told his family he'd never stashed money in Nayarit. The hotel is closed to the public for the season, overseas bank accounts, considering this unpatriotic) or and is occupied only by the manager Teresa and handyman surrender to the authorities. When the local police arrive Matías. The Engineer assembles his family: his wife to arrest him, they find the Engineer dead of a self-inflicted (referred to as La Señora), son Sergio, daughter Silvia. He gunshot wound. tells them the matter is serious but not insurmountable, Playa azul is a typical "dysfunctional family" drama, each new administration says the previous administration albeit one which has the additional interest of some was corrupt, and he's been chosen as the sacrificial lamb oblique references to Mexican politics. The performances this time. In a few months, everything will blow over, are all very good. This is an actors' movie--all of the main 14

The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012) characters (the Engineer, La Señora, Silvia, Sergio, Teresa Rodríguez ( apartment house porter ), Chel López ( Omar's and Matías) have a "big scene" (or more than one) to show henchman ) off their talent. It's Notes : a slow but moderately entertaining piece of interesting to compare exotica, El príncipe del desierto anticipated--by about a Sergio Bustamante and decade--a brief Ignacio Retes in El flurry of caballito volador and Playa Mexican azul --Bustamante is "Arabian" flamboyantly over-the-top adventures in the in the first film and a solid late 1950s. Part dramatic actor in the of the second, while Retes plays a straight dramatic role in the cosmopolitan earlier film and an eccentric character part in the later trend in Mexican movie. cinema of the The production values are fine. As noted earlier, Playa early-mid 1940s, azul was shot on location in the state of Nayarit, and this El príncipe del adds a feeling of versimilitude to the drama. The desierto is also slightly reminiscent of classic films such as photography is quite nice, and Amparo Rubín won an Rudolph Valentino's The Sheik and Son of the Sheik . Ariel for her restrained musical score. The film is not as interesting as it could have been, and Certainly no masterpiece nor a really important film, this can largely be blamed on the script, which has several but an entertaining "serious drama." problems. First, the film is told in flashback, with Lucila shown reading Achmed's journal. Right away, this signifies that the movie won't have a happy ending--either Hay Moros en la costa! Achmed is going to be killed, or he'll renounce Lucila for reasons of state, or something. Additionally, after a very brief flashback scene to Lucila and Achmed as children in Arabia, at least the first third of the picture's running time is spent in Mexico, achieving only two things: Achmed and Lucila meet again and fall in love, and Lucila clashes with her father over this. It's not until we get to "Arabia" that there is any action, intrigue, exotic scenery, and so forth, thus El príncipe del desierto gets off to a very slow start. The rest of the picture isn’t too bad, with a modicum of action, lots of sinister goings-on, torture, swordfighting, and such, but it was a long time coming. As a child, Lucila lives in Arabia with her parents, and makes friends with Arab boy Achmed. Before she leaves, he gives her a necklace. 20 years later, Achmed and his retainer Giafar visit Mexico. He’s the prince of his...tribe? Country? Region? On the train, Achmed meets Sra. Monroy and her El príncipe del desierto [The Prince of the grown daughter Desert] (José Luis Calderón, 1946) Prod : José Luis Teresa, who is Calderón; Dir-Adapt-Dialogue : Fernando A. Rivero; interested in the Story-Continuity-Dialogue : Nagre M. Ganew, Fernando A. handsome, rich Rivero; Photo : Ezequiel Carrasco; Music : Francisco foreigner. When they Argote; Lute Soloist & Arab Music Collab : Dr. Luis J. arrive in Mexico City, Suicke; Prod Mgr : Rodolfo Montiel C.; Prod Chief : Achmed is invited to Antonio Sánchez B.; Asst Dir : Américo Fernández; Film a party at the Monroy Ed : Jorge Bustos; Art Dir : José Rodríguez Granada; home, and meets Camera Op : J. Guadalupe García; Makeup : Román Juárez; Teresa’s cousin Choreog : Lucila Franco; Sound Engin : Jimmie Fields; Lucila, who just happens to be the same Lucila who was Sound Op : Galdino Samperio Achmed’s childhood friend! What a small world! Cast: Abel Salazar ( Prince Achmed ), Malú Gatica Achmed and Lucila fall in love, which causes some (Lucila Albornoz ), René Cardona [Sr.] ( Omar ), Esperanza problems: Achmed is Muslim and Lucila is Christian, Issa ( Salna ), Eduardo Casado ( Giafar ), Luis Mussot Achmed has responsibilities in his own land (his rival (Abdalah ), Arturo Soto Rangel ( Sr. Albornoz ), Eugenia Omar is stirring up trouble), and Lucila’s father opposes Galindo ( Sra. Monroy ), Violeta Guirola ( Teresa Monroy ), the relationship. Achmed is urgently recalled to Arabia, Jorge Mondragón ( Sr. Monroy ), Mary Montoya ( Lucila as but Lucila promises to follow. a girl ), Norma Ancira, Lilia Aclemar ( dancer ), Humberto 15

The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012)

Back in the desert, Omar spreads tales of Achmed’s (there is even a scene in which they are shown praying) dalliance with an infidel. He convinces Abdalah to and Achmed doesn’t “see the light” and convert to support his cause, Christianity (although it’s possible the tragic ending of the and to terminate the picture forestalled any such problems, as did the death of arranged engagement the Muslim-Christian pair of lovers in En los tiempos de la between Achmed and inquisición earlier the same year). Abdalah’s daughter The performances are generally good, although Abel Salna, whom Omar Salazar has little to do other than be handsome and stiffly covets. When profess undying love for Malú Gatica. Gatica sings two Achmed arrives, his songs, clumsily inserted into the picture, and is satisfactory men foil an ambush in the acting department, but Esperanza Issa and René by the rebels. Lucila Cardona Sr. steal the show as the irate-then-repentant shows up but is Salna and the evil Omar. kidnaped by Omar and Salna, who use her as bait to The production values are decent: this was shot at the capture Achmed. Salna changes sides and frees Achmed then-new Estudios Churubusco (coincidentally, Abel and Lucila, at the cost of her own life. Achmed kills Omar Salazar had starred in the first movie made there, La but is mortally wounded himself. Lucila returns to morena de mi copla , in 1945) and while the sets aren’t Mexico, alone. huge and elaborate, they are adequate and not cheap- El príncipe del desierto sets up various conflicts, but looking. There are sufficient extras when needed, and the gives most of them rather short shrift. The Mexican costumes and so on are satisfactory. The Churubusco section plays out both as a rocky, cross-cultural romance studios were a top-flight facility (partially financed by (although Achmed dresses in Western style and isn’t a RKO) and while El príncipe del desierto is a little studio- stereotypical “Arab,” at one point he says “neither race nor bound (there are only a few exterior shots) it is a glossy, religion” matters, which suggests these are issues) and as a good-looking film. [Unfortunately, the version shown on mild romantic triangle (Achmed briefly courts Teresa, but the Cine Nostalgia channel had muffled sound which at dumps her for Lucila, which bothers Teresa and her times made the dialogue difficult to understand.] mother, particularly when they learn he’s a wealthy prince). In the Arabian part of the movie, there is political intrigue—Omar is a sinister usurper, but much of what he says is true, Achmed is neglecting his people to consort with a Christian woman in another land—as well as personal rivalry between Omar and Achmed, with the spurned-woman Salna added to the mix. The final sequences are the best in the movie: florid melodrama with Lucila and Achmed in the dungeon, Omar ordering Achmed to be flogged, Salna begging for his life and being cruelly mocked and then fatally stabbed by Omar, a protracted sword duel between the two men as Lucila dashes around locking doors to keep Omar’s men out, the (too late) arrival of Achmed’s forces and a large, pitched battle, and so forth. An interesting thing about El príncipe del desierto is its fair-minded portrayal of the various Arab characters, and El colmillo de Buda [Buddha's Eyetooth] particularly their Muslim religion. There is no (Orofilms-Prods. Dyana, 1949) Prod : Gonzalo Elvira; Dir- proselytising in the movie, Lucila and Achmed apparently Scr : Juan Bustillo Oro; Orig. Play : Pedro Muñoz Seca; have no problem in their relationship, even if others don’t Photo : Jorge Stahl Jr.; Music : Gonzalo Curiel; Prod Mgr : like it: the Arabs especially don’t appreciate the idea of Alberto Zacarías; Prod Chief : Guillermo Alcayde; Asst their leader having an affair with an infidel (there is even a Dir : J. López Portillo; Film Ed : José W. Bustos; Art Dir : curious flashback-fantasy sequence in which a storyteller Xavier Torres Torija; Camera Op : Carlos Carbajal, José relates the tale of a Greek woman who seduces a good León Sánchez; Lighting : Horacio Calvillo; Photo FX : Muslim man, with fatal results). However, the film Jorge Benavides, Juan Muñoz; Sound Dir : James L. Fields; doesn’t portray the Arabs as fanatics or heathen savages 16

The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012)

Dialog Rec : Javier Mateos; Music/Re-rec : Galdino Hale's butler Benítez pays a visit to his friend, the lazy Samperio; Makeup : Margarita Ortega and impoverished Exquisito (and his irritable wife Cast: Ángel Garasa ( Exquisito Chorro ), Fernando Emérita). He makes a proposition: Exquisito will take the Cortés ( Benítez ), Amalia Aguilar ( Adjacapatra ), Sara job of Hale's butler on Benítez's night off, Benítez will Montes ( Egidsa ), Consuelo Guerrero de Luna ( Emérita ), disguise himself as Hale's guard-gorilla and attack his Charles Rooner ( Mr. Elder Hale ), Rafael Alcayde ( Prince employer, only to be defeated by the “brave” Exquisito. Kalamor ), Fernando Galiana ( cult member ), José Baviera Hale will certainly (Rajah Perotunkatagaya ), Nicolás Rodríguez ( Mebombo ), reward Exquisito Eugenia Galindo ( Botama ), Francisco Reiguera ( old cult handsomely and member ), Max Langler ( Locmé ), Luis Mussot ( Tinako ) Benítez will get half the Julián de Meriche ( cult member ); exotic dancers : Turanda, cash. Wouldn’t you Tayluma, Medalia, Gina, Silvia; Salvador Quiroz know, as in so many (Adjacapatra's servant ), [Armando Arriola] Arriolita other similar situations ("Martínez" ), A. Brillas, Tarzán Sánchez, Humberto in movies, Benítez fails Rodríguez ( "Nicotino" ), Gladys Vasconcelos, Juan José to show up in his gorilla Laboriel ( black palace guard ), Jorge Danieri ( palace costume and Exquisito servant ), "Hombre Montana" ( gorilla Galaor ), Stefan unknowingly fights the real gorilla. This convinces Hale Verne ( gong striker ) that Exquisito is fearless and invulnerable and he hires him Notes : El colmillo de Buda was based on a Spanish as his bodyguard. Exquisito refuses until Benítez lies and play Juan Bustillo Oro had seen around 1920. Bustillo Oro says it's all a joke to entertain Hale, that there will never be adapted this to the cinema any danger. Hale gives Exquisito the Eyetooth of Buddha as a vehicle for Luis for safekeeping. Sandrini, but the Prince Kalamor, a secret member of the Sons of Argentine comedian was Buddha, visits Hale and tries to have Exquisito murdered under contract to Filmex, by one of his seductive aides during a "dagger dance," but and when that company she prostrates demanded too much herself after money for his services, spotting the Spanish actor Ángel Eyetooth on a Garasa was given the part. necklace. The Garasa had played leading other assassins are roles in a handful of Mexican films of the 1940s, but was helpless as well: as more often used in support of other comedians like long as Exquisito Cantinflas, or as comic relief. In a curious coincidence, has their priceless Luis Sandrini did star in a film based on a Pedro Muñoz artefact, they are Seca play in 1949, El baño de Afrodita , which went before not permitted to the cameras about 3 weeks before El colmillo de Buda harm him. started production. However, the Sons of Buddha abduct Emérita and say The stage origins of El colmillo de Buda seem obvious: Exquisito must move to Frangistan or he'll never see his the first two "acts" take place in Mexico City, while the wife again. concluding section is set in the fictional Far East nation of In Frangistan, Exquisito lives a life of luxury with many "Frangistan." While the film is not shot in a "stagey" servants (whom he manner--Bustillo Oro varies his shots and keeps the pace gives nick-names brisk, although this is a dialogue-heavy picture--no like "Coca Cola" and particular effort has been made to "open up" the work, "Nescafé") and a with the majority of the Mexico City sequences taking harem of beautiful place in the home of Mr. Hale, and the Frangistan scenes women (he also puts largely limited to some palace interiors. These sets are on a boxing glove well-appointed and reasonably spacious, but there are only and punches people a few of them. for no reason, simply Mr. Elder Hale is a British collector of Oriental because he knows antiquities, who has moved to Mexico to escape the they can't retaliate). clutches of the cult called "the Sons of Buddha." They are He intends to divorce after him because he stole their most precious relic, the Emérita and marry Eyetooth of Buddha. He also abducted princess Egdisa Adjacapatra. "Someone" steals the Eyetooth of Buddha and intends to marry her. Keeping Egdisa company are while Exquisito sleeps. After an extended sequence in Adjacapatra and their maid Botama. When an attempt is which a variety of exotic dancers perform, the loss of the made on Hale's life (a shot is fired and a knife is tossed sacred relic is discovered and Exquisito and Benítez are through his window), his servant Tinako says the Sons of sentenced to death. However, Emérita reveals she has the Buddha have tracked them to Mexico. Eyetooth of Buddha and trades it to the cult in exchange 17

The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012) for safe passage back to Mexico for herself, her husband, than Ángel Garasa, who looks somewhat like the and Benítez, and enough money to open a taco shop! American actor) appears in the movie, as far as I can tell. El colmillo de Buda is quite diverting, although most of The production values are good, although the the humour comes from the characters rather than the Frangistan sets are slightly skimpy (albeit not really cheap specific situations or/and slapstick or verbal humour. in appearance). Juan Bustillo Oro's direction is not Ángel Garasa and Consuelo Guerrero de Luna were never especially stylish, but it gets the job done. He was less than amusing in their Mexican cinema appearances, perfectly capable of creating eye-catching films ( Retorno a and they don’t disappoint in El colmillo de Buda , playing la juventud, El hombre sin rostro, El misterio del rostro off each other and the rest of the cast with consummate pálido , etc.) but was also comfortable making zero-degree comic timing and delivery. In one scene, Exquisito even style pictures when the subject matter required it. breaks the fourth wall: when the sexy Adjacapatra says Overall, a very pleasant adaptation of a stage comedy, she'll be his love slave, he turns to the audience and says, bolstered by some fine performers and a number of clever "Sirs, isn't this truly a woman and not that mess and amusing touches. [porquería ] I have in my house?" There are also repeated gags such as the penchant of the Sons of Buddha for biting their own fists in rage and frustration when their bloodthirsty plans are thwarted. Assassin Locmé is so upset in one scene that he literally falls to the floor and begins chewing the carpet! Other catch phrases and gestures by the cult are also eccentric and amusing. Less effective is the attempted humour of Mr. Hale's malaprop-laden Spanglish (Charles Rooner could speak intelligible, if accented Spanish when need be, but the script has him mangle the language for comic effect). Special mention should be made of the parade of "exóticas" in the film--the Princess who serves as part of the Sons of the Buddha assassination group is extremely attractive, and the sequence towards the climax featuring a bevy of assorted dancers (of all skin colours and body types) is also eye candy. In addition to Garasa and Guerrero de Luna, the rest of the cast is satisfactory: everyone seems to know their place, from El corazón y la espada [The Heart and the those charged with deliberately mugging for the camera to Sword]* (Prods. García Besné-Campeón Films, 1953)** other playing their roles absolutely straight. Prod : Jorge García Besné; Dir : Carlos Véjar C. and Trivia note: a curious rumour persists that Buster Edward Dein; Scr : Mildred & Edward Dein; [ Adapt : Keaton had a cameo role ("Moe" according to IMDB) in El Rafael García Travesí, uncr.]; Photo : Enrique Wallace; colmillo de Buda . This seems highly unlikely, although Music : Antonio Díaz Conde; Prod Mgr : Eduardo Sánchez the famed comic actor had worked in Mexico on El Frausto, Frank Fox; Prod Chief : Manuel Rodríguez; Asst moderno Barbazul (which also featured Ángel Garasa) in Dir : Valerio Olivo; Film Ed : Carlos Savage; Art Dir : Jorge 1946. Why Keaton would have taken an unbilled bit part Fernández; Camera Op : Felipe Mariscal; Lighting : Luis in a Mexican movie is different to imagine, and his Medina; Makeup : Carmen Palomino; Sound Dir : Jesús whereabouts in January 1949 (when El colmillo de Buda González G.; Dialog Rec : José Pérez; Script Clerk was shot) can probably be ascertained (his other 1949 [Anotador ]: Ýcaro [sic] Cisneros; Sound Ed : Teodulo movies were all Hollywood productions). Suffice it to say Bustos; 3D Technical Supervisors : Howard Anderson, Don that no one even slightly resembling Buster Keaton (other Carlos López, Russell Ray Heinze; Fencing Master : Antonio Haro Oliva

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The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012)

*aka as Sword of Granada (Manson Distributing, made Mis secretarias privadas in Mexico and his "odd" 1956?) and The Naked Sword (this title was used as early accent drew some attention then). as 1953 in a Louella Parsons newspaper column and some Unfortunately, in whatever language, El corazón y la sources indicate the movie was released as late as 1960 espada is not a particularly good film. The script is under this name). hackneyed and minor in scope, the entire movie was shot **some sources (including my The Mexican on cramped interior sets, the cast is small, the costumes Filmography ) cite this as a Mexican-U.S. coproduction but look cheap and inauthentic, the action scenes are clumsy, no Hollywood company or producer is credited on the and there are far too many things tossed and thrust at the Mexican camera (which looks print. really stupid in 2-D). However, the Early in the movie, presence of Ponce de León and Edward Dein Pedro creep through a as co-director series of narrow suggests the tunnels, a sequence project was which seems as if it conceived as a might have had some "crossover" visual appeal in 3-D; film from its otherwise, there's inception. nothing other than the Cast: aforementioned Cesar Romero clumsy, eye-jabbing shots. (don Pedro de During the Moorish occupation of Spain in the 15th Rivera ), Katy century, Pedro and Ponce de León penetrate the castle of Jurado the Caliph of Granada. This was formerly Pedro's family (Lolita ), home, and he wants to assassinate the Caliph and rally the Rebeca local population to resist the invaders. Ponce de León, on Iturbide the other hand, is seeking an amulet called the "Rose of (Princess Granada," which is alleged to bestow eternal life on the Esmé ), Tito owner--he's heard the Caliph owns the artifact. Inside, the Junco ( Juan two men meet captive priest Padre Angélico and thief Ponce de León ), Miguel Ángel Ferriz ( Padre Angélico ), Lolita, who also have their agendas: Angélico wants to Fernando Casanova ( Captain of Caliph's guard ), Gloria restore the cross to the castle tower, and Lolita believes the Mestre ( Sara, servant ), Víctor Alcocer ( Caliph of Caliph's alchemist has a formula to make gold out of base Granada ), José Torvay ( Caliph's aide ), Norma Ancira, metals. Manuel Casanueva ( alchemist ), Antonio Haro Oliva Angélico has been commissioned to paint a portrait of Notes: a printed credit on-screen and publicity the Caliph of Córdoba, materials cite El corazón y la espada as “the First Mexican to whom Princess Film in 3 rd Dimension,” but it looks like El valor de vivir Esmé--niece of the went into production at Churubusco one or two weeks Caliph of Granada-- before Corazón did at the Tepéyac studios. By the time has been promised in the picture made it to the USA in 1956 (some sources marriage. Having indicate it was released as early as 1954), the 3-D boom never seen the Caliph was long gone and it was shown “flat,” as Sword of of Córdoba, Angélico Granada . [Emilio García Riera says the film never played paints Pedro's image in Mexico City.] instead. Esmé is Interestingly enough, the 3-D Film Archive LLC struck by his (www.3dfilmarchive.com ) indicates it owns the rights to handsome looks. the Spanish-language version (and presumably has 3D When he delivers the copies). El corazón y la espada has been recently shown portrait, Angélico slips a drug into Esmé's wine so she'll on both Mexican and U.S. television but Sword of sleep soundly that night, thus allowing the four adventurers Granada doesn’t seem to be available. to enter the castle through her bedroom window. There is a question as to whether Sword of Granada However, they are captured by the Caliph's guards and was dubbed or if it represents an “alterate” version shot in taken to the dungeon instead, where they are whipped on English: according to García Riera, this was a dual- suspicion of being Spanish spies. language production (although he also lists 20th Century- Esmé finds a map of secret passages in the castle, Fox as the U.S. distributor, which doesn't seem to have dropped by Pedro. She uses it to free Angélico, Pedro, been the case). Cesar Romero, while of Cuban heritage, Ponce de León, and Lolita. Lolita confronts the alchemist was born in New York City and his Spanish dialogue is but the man denies he has a formula to make gold. Esmé's dubbed by someone else in the Mexican version (he later betrayal is exposed and she's tortured by the Caliph. In a 19

The Mexican Film Bulletin, Volume 18 Number 3 (July-August 2012) battle to rescue her, Pedro reveals his identity to one of the unrecognisable under a fake beard and moustache, Caliph's men, who switches sides (his father had served although his distinctive voice betrays his identity, with Pedro’s father). The Caliph is killed by Pedro in a Fernando Casanova is mostly wasted until the final duel, and dies without revealing the location of the Rose of moments, Katy Jurado plays a shrewish character and goes Granada. Pedro rings the castle bell to summon loyal through half the movie with smudges on her face, and Spaniards to his side. As the film concludes, he and Lolita Gloria Mestre is completely wasted in a bit part as a embrace. servant. There is a curious montage of dances and acrobatic acts early in the movie--entertainment for the Caliph--and one suspects perhaps Mestre had a dance number that was trimmed in the final edit (the movie runs only about 80 minutes). Overall, this is a very minor film without much to recommend it. Additional note: according to the excellent documentary Pérdida by Vivián García Besné, producer Jorge García Besné (her grandfather) intended to Although all of the sympathetic characters in El make a second 3-D corazón y la espada have some sort of back story, these movie in Mexico, this are mostly two or three-line statements tossed in "on the one in English. Based on run" and have little or no dramatic bearing on the plot. a story by Lee Hewitt The majority of the film consists of people dashing up and (Kentucky Rifle , down the corridors of episodes of "Science the castle, interspersed Fiction Theatre"), the with occasional scenes film was to be entitled of swordplay and torture La diosa de Marte (The (you have to hand it to Goddess of Mars) or the filmmakers, this isn't Morning Star , and just threat of torture, would have dealt with people are actually an expedition to Mars to whipped and tortured prove that the Aztecs with knives and they were the descendants of moan and scream in visitors from the Red pain, too). The four Planet. Unfortunately, Spaniards--Angélico, the Calderón family-- Pedro, Ponce de León, that García Besné had and Lolita--spend a fair amount of time arguing with each married into--allegedly other (especially Lolita), but everything is so perfunctory used its influence to that there's no real sense of tension among the group, no stymie the producer's suggestion that their differing aims might fracture their projects around this time partnership. Lolita is the odd "man" out, constantly (including Morning Star ), as punishment for his clashing with Pedro and Ponce de León--I have to confess philandering. García Besné did continue his producing I expected Pedro to wind career, but the propitious moment for this 3D project was up with Esmé and Ponce lost. de León to pair off with Lolita, particularly given the antipathy between The Mexican Film Bulletin is the latter two (which in published 6 times a year by David Wilt, 6803 movies usually means Dartmouth Ave, College Park MD 20740, USA. they'll fall in love), but the Deins threw me a contact: [email protected] curve on that one. Contents ©2012 by David E. Wilt, except for The performances are material already copyrighted, which is used adequate, although as under the Fair Use provisions of the law. noted above, the Read The Mexican Film Bulletin online at: dubbing for Cesar www.terpconnect.umd.edu/~dwilt/mexnews.html Romero is very obvious. Víctor Alcocer is completely

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