One is sorely mistaken to generalize and overlook the cinema of other countries for any reason, and I think that this Mexican sci-fi horror flick is apt demonstration of why. At a time when genre fare in Hollywood was dominated by low-grade B-movies and monsters exploiting an obsession with the new Atomic Age, I dare say that this rather firmly comes across as something distinctly more earnest and well made. Even in the early stretch of the length that zeroes in on hypnotism, and the flimflam of "past life regression," there's a noteworthy vibrancy and level of care to the film's construction that's more intense and absorbing than what many comparable contemporary titles were able to offer. True, one could perhaps say that 'La momia Azteca' was leaning partly on the popularity of other works that played in similar spaces, yet I think any discerning viewer can easily distinguish between features that are made and stories that are told with sincerity, and those that are crafted with a mind for a quick and easy profit. I'm not saying that this 1957 romp is perfect, but I don't think there's much arguing that it's marked with skill and intelligence, and even more than sixty years later it stands taller than a lot of other pictures that are much more well known.
Alfredo Salazar and producer Guillermo Calderon penned a genuinely interesting, compelling narrative, one that maybe even has stronger foundations and connective threads than some of the more widely renowned flicks it calls kin. From the notion of proving past life regression is woven a tale of adventure in which reliable horror concepts come to prominently figure, naturally culminating in the awakening of a mummy. Name points of comparison if you will, but I'm delighted by how imaginative the story is, and the scene writing and dialogue are just as sturdy and robust in providing fuel for the action, drama, and horror, and the efforts of cast and crew alike. To that point, my commendations to director Rafael Portillo, for he orchestrates every shot and scene with the shrewd intent of capitalizing on all possible heightened emotions, impactful beats, and spectacular moments, and he absolutely achieves that goal. Why, there's some outstanding shot composition here, truly artistic and lovely to behold, and to that end, cinematographer Enrique Wallace is to be congratulated for sharp, vivid work. Moreover, such quality is both made easier to achieve and further elevated in light of superb, beautiful filming locations, and sets that are rich with marvelous detail that help them feel truly alive.
Antonio Díaz Conde's original score is an unexpected highlight, a panoply of striking, dramatic chords and themes that lend to the atmosphere of the proceedings and quite ably command one's attention. I'm impressed with the acting, too, for I think the cast capably embrace the serious tenor of the production and give appreciable performances of emotional depth and nuance. Of course the most prominent stars have the most opportunity to illustrate their skills, and to that end I'm well enamored of Ramón Gay and especially Rosita Arenas, but the rest of the ensemble is just as swell. Any stunts and effects that are employed look great, matching the excellence of other facets even down to the costume design, hair, and makeup. With all this having been said, the faults here seem even smaller than they already were. There are a few times when a scene is allowed to go on a little too long, bogging down the pacing and sapping some of the buzzing energy the title otherwise carries with it. I would also suggest that this is an instance where the lighting in scenes set in darkness - at night, and/or within the tomb into which our characters delve - is simply insufficient, to the point that we viewers can't see what's going on. Emphasizing the point: a major scene near the end is characterized by both these flaws, and has an outcome that turns out to be different from the one that I thought I could make out. Even the climax is diminished in a like manner. Lastly, though it's not a criticism per se, I would observe that the horror element doesn't really show up until we're five-eighths through the runtime. That horror element is wonderfully solid, and 'La momia Azteca' is very much worthwhile even before it shows up, but the incidence should be noted.
If these points are the worst critiques that I have to give, however, then I'd say the movie has done pretty well for itself. In all other regards I'm rather overjoyed by just how good this is, an entrancing viewing experience far exceeding my expectations. In most every capacity this is splendidly well done, and its strengths considerably outweigh its weaknesses. By all means, personal preferences vary, and other will no doubt think less of this; all I can say is that my assumptions were done, and I had a fantastic time watching. It might not be a total must-see, but as far as I'm concerned 'La momia Azteca' holds up terrifically and is well worth checking out if you have the chance!
Alfredo Salazar and producer Guillermo Calderon penned a genuinely interesting, compelling narrative, one that maybe even has stronger foundations and connective threads than some of the more widely renowned flicks it calls kin. From the notion of proving past life regression is woven a tale of adventure in which reliable horror concepts come to prominently figure, naturally culminating in the awakening of a mummy. Name points of comparison if you will, but I'm delighted by how imaginative the story is, and the scene writing and dialogue are just as sturdy and robust in providing fuel for the action, drama, and horror, and the efforts of cast and crew alike. To that point, my commendations to director Rafael Portillo, for he orchestrates every shot and scene with the shrewd intent of capitalizing on all possible heightened emotions, impactful beats, and spectacular moments, and he absolutely achieves that goal. Why, there's some outstanding shot composition here, truly artistic and lovely to behold, and to that end, cinematographer Enrique Wallace is to be congratulated for sharp, vivid work. Moreover, such quality is both made easier to achieve and further elevated in light of superb, beautiful filming locations, and sets that are rich with marvelous detail that help them feel truly alive.
Antonio Díaz Conde's original score is an unexpected highlight, a panoply of striking, dramatic chords and themes that lend to the atmosphere of the proceedings and quite ably command one's attention. I'm impressed with the acting, too, for I think the cast capably embrace the serious tenor of the production and give appreciable performances of emotional depth and nuance. Of course the most prominent stars have the most opportunity to illustrate their skills, and to that end I'm well enamored of Ramón Gay and especially Rosita Arenas, but the rest of the ensemble is just as swell. Any stunts and effects that are employed look great, matching the excellence of other facets even down to the costume design, hair, and makeup. With all this having been said, the faults here seem even smaller than they already were. There are a few times when a scene is allowed to go on a little too long, bogging down the pacing and sapping some of the buzzing energy the title otherwise carries with it. I would also suggest that this is an instance where the lighting in scenes set in darkness - at night, and/or within the tomb into which our characters delve - is simply insufficient, to the point that we viewers can't see what's going on. Emphasizing the point: a major scene near the end is characterized by both these flaws, and has an outcome that turns out to be different from the one that I thought I could make out. Even the climax is diminished in a like manner. Lastly, though it's not a criticism per se, I would observe that the horror element doesn't really show up until we're five-eighths through the runtime. That horror element is wonderfully solid, and 'La momia Azteca' is very much worthwhile even before it shows up, but the incidence should be noted.
If these points are the worst critiques that I have to give, however, then I'd say the movie has done pretty well for itself. In all other regards I'm rather overjoyed by just how good this is, an entrancing viewing experience far exceeding my expectations. In most every capacity this is splendidly well done, and its strengths considerably outweigh its weaknesses. By all means, personal preferences vary, and other will no doubt think less of this; all I can say is that my assumptions were done, and I had a fantastic time watching. It might not be a total must-see, but as far as I'm concerned 'La momia Azteca' holds up terrifically and is well worth checking out if you have the chance!