Experimenting in hypnotic regression to past lives, Dr. Almada discovers that his fiancée, Flor, is the reincarnation of an Aztec maiden who was put to death for loving an Aztec warrior, ...
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The evil Dr. Krupp, once again trying to get possession of the Aztec princess Xochitl's jewels, hypnotizes her current reincarnation, Flor, to get her to reveal the jewels' location - ... See full summary »
A pretty young Mexican girl returns to her hometown to make funeral arrangements for her beloved aunt, who has just died. Soon she begins to hear disturbing stories about the town being ... See full summary »
Experimenting in hypnotic regression to past lives, Dr. Almada discovers that his fiancée, Flor, is the reincarnation of an Aztec maiden who was put to death for loving an Aztec warrior, her body placed at the entrance to a hidden chamber in the Great Pyramid of Yucatan where the treasures of the Aztecs were hidden, and her lover mummified but cursed to remain alive and guard the treasure. With her recovered memories, Flor is able to lead Almada, his wimpish assistant Pincate, and her father to the now-skeletal remains of the maiden. Attached to them is a golden breastplate with a map detailing the route to the treasure. But to their horror, the party is intercepted by the mummified warrior, Popoca, and flee with the breastplate back to Mexico city. Popoca follows. In the meantime, Prof. Krup, an unscrupulous colleague of Almada's, recruits a gang of thugs, whom he leads from behind a mask and known only as "The Bat". Both Krup and his gang, and the mummy, converge on Flor's house to ... Written by
Rich Wannen <RichWannen@worldnet.att.net>
When I first saw this I was 6 years old and it scared men almost to death. Even though the trilogy ended a few months later (in 1958) I remember I was disappointed with the "human robot" ending of the Aztec mummy trilogy. I still think that this Aztecan mummy could have been better exploited in films, but I guess that even for the producers it was such a discovery that when they realized what they had in hand, they had already blown it apart, with the lowest budgets and the retelling with minimum variations of the same story in parts 2 and 3 ("The Curse of the Aztec Mummy", and the awful "The Aztec Mummy Against the Humanoid Robot"). Maybe the reason is that its main writer, Alfredo Salazar (brother of producer-actor Abel Salazar, the man behind Fernando Méndez' 1957 classic "The Vampire") was marginally interested in horror films. Even if he also has to his credited the original script for Benito Alazraki's "Devil Doll Men" (1961), most of the movies Alfredo wrote were about wrestling stars, fighting the occasional monster. As frequent in Mexican horror films, there is also a mystery here: nobody seems to know the name of the little girl who played Dr. Almada's daughter.
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