Intimidating song titles
This film is perhaps the best example of wrestlers vs. Santo, who is not just a wrestler, but actually works in cahoots with the Mexican police (who, as we all know, are pure as driven snow), and offers his services to vanquish super criminals (you know, those super smart bad guys who are way too swift for those super sharp Mexican police), or monsters, who seem to like Mexico.
In this case, Santo battles a Phantom of the Opera type who loves to play an organ in his underground lair, and send out his nimrod assistant to wipe out enemies.
This film is treated like an epic, it actually seems to have a budget, further enhanced by elaborate musical numbers (that’s right, we actually break into song during two points in the movie), and some wild James Bond type sticky situations that Santo is subjected to by this merciless madman.
Very claustrophobic, and ambitious, especially for Cardona.The atmosphere in these films is the most intriguing aspect, with extensive use of cob webs, dust, and extremely expressionistic set design, harkening back to early German cinema, an obvious influence to the Mexicans.But what’s really perplexing is the use of these wrestlers as heroes.The simple fact remains that the Mexicans have achieved something most American filmmakers would love to do but can’t, and that’s bringing a comic book successfully to life on the big screen.That’s right, let me go on record to say Mexicans do cinematic comic books better than those who consciously try to...