Taken by the unique Cinderella twist given to The Witch (1954-also reviewed) I was very intrigued to find out if film maker Chano Urueta had made more off-beat Horror titles. Taking a look at the two remaining Mexican Horrors to watch that fellow IMDber melvelit-1 had sent me,I was pleased to find one which would allow me to witness Urueta reviving a monster.
View on the film:
Powering up themes which would fly in The Witch a year later, co-writer/(with Dino Maiuri) director Chano Urueta & his regular cinematographer Victor Herrera cover the disfigured plastic surgeon with the cape of The Phantom of the Opera, which brews a icy air of mystery, from the build-up of the surgeon unveiling his face, behind the caped-covered close-ups, Urueta drops the cover for terrific, beastly practical effects in the close encounter between the surgeon and Nora, (who shares her name with that of Nora in Urueta's The Witch.)
Urueta initiates a major motif which would span future credits, of sliding the Gothic fever running from the DR's operations and brooding lair (complete with a henchman!) to the side of the plate, instead gliding for a high-end Melodrama atmosphere, bubbling away while the surgeon looks from upon high at Nora.
Starting with a fresh cut from the surgeon getting kissed by Nora, the screenplay by Urueta and Maiuri sadly skip over the chance for a Mad Scientist/Doctor take on Beauty and the Beast, by powdering it down with dry Melodrama rubbed from Nora keeping secrets under the knife of the revived monster.
View on the film:
Powering up themes which would fly in The Witch a year later, co-writer/(with Dino Maiuri) director Chano Urueta & his regular cinematographer Victor Herrera cover the disfigured plastic surgeon with the cape of The Phantom of the Opera, which brews a icy air of mystery, from the build-up of the surgeon unveiling his face, behind the caped-covered close-ups, Urueta drops the cover for terrific, beastly practical effects in the close encounter between the surgeon and Nora, (who shares her name with that of Nora in Urueta's The Witch.)
Urueta initiates a major motif which would span future credits, of sliding the Gothic fever running from the DR's operations and brooding lair (complete with a henchman!) to the side of the plate, instead gliding for a high-end Melodrama atmosphere, bubbling away while the surgeon looks from upon high at Nora.
Starting with a fresh cut from the surgeon getting kissed by Nora, the screenplay by Urueta and Maiuri sadly skip over the chance for a Mad Scientist/Doctor take on Beauty and the Beast, by powdering it down with dry Melodrama rubbed from Nora keeping secrets under the knife of the revived monster.