One of the high points in lucha libre cinema that exemplifies the bizarre conception of commercial cinema Mexican filmmakers had when creating one of these deranged and merely cinematic efforts.
A good balance between the roster of superhero wrestlers present, characters that are more iconic than psychological, with economic characterizations understood by audience members familiar with them. Villains and helpers that lack conventional introduction, alluding to previous unseen adventures regardless of whether they happened or not.
Curiel's direction has evolved from the classic construction of his americanized and serial-inspired direction of his early work, the meticulous action-based blocking of his early Santo trilogy, western movies and the Nostradamus films changes into more instinctive ways, he becomes more abstract and observant with time rather than planning, utilizing an unsettled camera that only selects the components necessary for the bare minimum narrative development. A mise en scène that nourishes because of its unconventional and oddly enriching details, at a first glance they seem superficial but due to the careful construction they fill the movie with life and rhythm, an example is the fragment of Mil Mascaras changing his mask in one swift movement without unveiling his face, in these small instants the film becomes distracted and prefers to dedicate it's focus to these tiny moments of interest, making it more vigorous.
Stunning colors and delirious psychedelic scenarios constitute the outrageous art direction employed in lucha libre cinema, constantly taking inspiration from its comic book roots. The obligatory exhibition wrestling events for the delight of the public are present (both for the theatrical audiences and the diegetic audience of the film) in this film they end up clashing with the fragile prettiness of the beauty pageant, covering both conventional spheres of mexican conservative views of men and women, as well as a way to serve the expected exploitation eye-candy to it's intended audience.
Explosive images of contrasting colors and sizes of its subjects, the uniformed dwarfs and the distinctive wrestlers unite to create an impressively fluid kinetic experience of primitive brawls to the rhythm of Gustavo Cesar Carrion's frenetic music. A harmony of psychotronic extravagance.
Finally, to declare it's intentions of adapting a comic into the big screen, the film's closing image alludes to the one that opens it, the glorified wrestling heroes riding their bikes (this time conveying a change in the status by adding their female partners) signaling the episodic nature of these movies, typical of the simple plots and joyful spirit of superhero stories. Something also present in Vuelven los campeones justicieros, also by Curiel.
