10 user 6 critic

Cry of the Bewitched (1957)

Yambaó (original title)
Cuba, 1850. On a sugar-cane plantation, the master and his wife are happy : they're expecting a child, their slaves are quiet. But tonight, as the full moon rises, the sound of the drums ... See full summary »


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2 wins & 1 nomination. See more awards »
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Cast overview, first billed only:
Ninón Sevilla ...
Ramón Gay ...
Rosa Elena Durgel ...
Fedora Capdevila ...
Ricardo Román ...
Luis López Puente ...
Celina Reynoso ...
Isolina Herrera ...
Olga Guillot ...
Singing Laundress
Xiomara Alfaro ...
Singer in Funeral
Armando Velasco ...
Martha Jean Claude ...
Singer in Sacrifice (as Martha Sean Claudet)
Mercedes Valdés
Paulina Álvarez
Dandy Crawford


Cuba, 1850. On a sugar-cane plantation, the master and his wife are happy : they're expecting a child, their slaves are quiet. But tonight, as the full moon rises, the sound of the drums are in the air. Yambao, the grand-daughter of a sorceress killed 15 years ago, has come back.. With her grand-mother's spirit. Written by Grégoire "Freak" Dubost <gregoire.dubost@free.fr>

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Horror | Thriller




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Release Date:

25 December 1957 (Mexico)  »

Also Known As:

Cry of the Bewitched  »

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User Reviews

Disappointing potboiler
27 July 2009 | by See all my reviews

Unfortunately, Ninon Sevilla was induced to reprise her "mulata" in the ill-conceived, poorly directed (Alfredo B. Crevenna) Yambao (1957). Aware that Pedro Armendariz had done his best to steal her limelight in "Mulata" (1954), Ninon was delighted with second-rate co-stars Ramon Gay (from the Aztec Mummy pictures) and Senorita Durgel, with whom she had worked harmoniously in Crevenna's 1956 "Amor y Pecado". So the accent is firmly on Sevilla all the way. Alas, she proves a huge disappointment. The film's poster lists seven songs and dances, but there seemed more a like dreary dozen to me. All but one are total write-offs, while the one that is mildly pleasant has nothing to do with the movie and seems to have been added as an afterthought. Not that the foolish, half-baked story with its copycat echoes of far better films like "Chloe" is any more entertaining. And as for the acting, the word "puerile" comes readily to mind, even to describe the exotic Sevilla herself who way overdoes the eye popping, teeth gnashing and similar amateurish histrionics. What's worse, she disappoints her fans by confining her dancing strictly to repetitive mambo-junko. We keep waiting for director Crevenna to wake up and realize this dime-store potboiler would play better as a comedy. Alas, he never does, even though Ninon's over-the-top scenery-chewing should have caused lightning to strike.

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