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Some time ago I introduced the figure of the Llorona trying to figure out the return of this continuous spectrum of women in various incarnations to infest the whole Mexican culture including books, movies and music. Syncretism between the pure fascination of its attractive appearance of a woman and her intentions to use moralistic folklore in the city meant that the story has spread throughout the South American cone and present characters similar to other legends of the globe. In fact, as I have repeatedly tried to highlight in the Mexican variation of this archetype has been strongly influenced by colonial history and even politics. This detail is not negligible even when you go to see a movie like The Maldición De La Llorona. Although the film has no political intent, historical or symbolic and just wants to trace the stylistic features of contemporary European cinema gothic is singular to note that the factors mentioned have infiltrated congruence with the truth. What interests me as usual is not making a sterile film criticism, but understand it and get to the heart of the matter. As a naive to the law itself may seem a reshuffling of old beliefs around the world or take the form of the narrative of man's innate fears, for many, this film is branded as an adaptation to the soil of its Central European counterparts. Obviously, this simplistic interpretation I is not well at all and I will try to dig up a work certainly not essential, but enjoyable, and to all intents and purposes part of the cinematic history of that country.

The film also released in the U.S. market in a dvd now unavailable, on behalf of the celebrated label never too Casanegra with the title of The Curse of the Crying Woman was born as a genuine attempt at South American Gothic. Although the estimators Mexican horror give proper emphasis to the unique character and cultural journey well separated from the rest of the world of local authors, there is no denying that this film is due for some ideas with a lot of contemporary European cinema. It is not in fact a most relevant example of the singularity represented by the Mexican horror film, because it shows several points of overlap with a classic Gothic ours. The representation Llorona with the dogs in tow, dressed in black who wanders through the fog, it can not be random, as well as the general atmosphere made of mist and cars whizzing through the night are quite unusual for the South American cinema.

The direct reference is with The Mask of the Demon (1960), the classic directed by Mario Bava, that as time goes on we discover what was most influential in the horror cinema all countries in which it was distributed. Singular is the short for which he always found myself talking as inspired by the story of Gogol that I fully spoken several times on this blog . This is also why I felt it right in full, because my memory had been buried at the bottom so much that I doubt whether I had never seen. Well, some distinctive features, have been taken so obvious, from the aforementioned look lady in black Llorona (Rita Macedo), which is the same as in the film Bava Barbara Steele, as well as the Great Danes on a leash by both actresses in their first shot. Added to this is also the part, I was very impressed in the Mexican film, Eye of the cable spectrum. This detail is also significant in Maldición and was probably an image of such power to strike even the Mexican director.

Director Rafael Baledón has therefore taken some elements of another film and tried to decline according to their culture. This process of regionalization of the product is more common than you think in the history of cinema and it is often to make up for the shortcomings of the product exported nell'attecchire the local public. It 'clear that the Llorona that Mexicans know as children would certainly have been most successful in those places compared to a witch of the Russian steppes led by an Italian. It would also be unfair to compare the two films, as that ours is hard to beat the master at the technical level. His proverbial camera movements and his well-known visual experiments in photography are now all the wealth of world cinema and they were so advanced, as is well known that his skill was recognized with shameful delay in our country. It would therefore be unfair to expect the moon from Baledón good while. It has directed much of school, it gives us a film that is delightfully close to the classic British Hammer pictures of the theatricality of the frame and for exploitation of the interior.

One might ask then what is so Mexican this is considered in all respects one of the best classics of the gothic genre. The answer is not in the linear plot concerns a family curse, common to many other Gothic tales, by which the poor Amalia (Rosita Arenas) has to deal, but first of all in the very presence of the Llorona. As mentioned above one can not ignore the history of the figure, because the ghost in this film is easily merged with the figure of Malinche. In the didactic story that makes the possessed Aunt Selma (Rita Macedo) shows a portrait of a woman clearly Azteca and appealed precisely Doña Marina. Symptomatic of the typical vision of the sixties are the words spoken by Macedo:

"It was scary because he wanted power. All sacrificed to achieve it. Even despised love. "

are fully in line with the mixture of fascination and hatred for an unnatural mother and it would be difficult to understand what I mean, if you was aware of the story. You can then give up the aesthetic features of traditional ghost clad in white, but not to its more intimate nature that is alive in the education of every Central. You can not separate the tragic story of the creature, as you will ever insist on foreign characters, not least the attempt to bring it back to life in ways similar to those of the witch from The Mask of the Demon or subtracting the lives of young women for a new reincarnation.

The film is then typically Mexican even make a special milkshake all over the film and psychotron available in those years. You throw in a Gothic mansion in the Mexican desert, hypnotism made Voodoo dolls, a lame man with his face disfigured servant, played by the great Carlos López Moctezuma favorite actor for the roles of villain, and not least a wonderful monster in the attic trick. Call missing a few wrestlers, but obviously he undermined the success of the film and not be said that the directors of these films were not aware of the pop factor and irony of their presence in the films. Among the actors feel I have to quote bambacione Abel Salazar, subscriber horrific roles in those years and which will certainly come back, who plays the husband of Rosita Arenas, and in a brief role Julissa known Mexican pop star and performer of popular telenovelas, like as one of the first cuts of that Wild at Heart (Corazón salvaje ), who went mad in the version of the 80's here too.

Technical

The maldición de la Llorona

Year: 1963

Directed by: Rafael Baledón

Screenplay: Rafael Baledón, Fernando Galiana

Cast:

Rosa Arenas - Abel Salazar Amelia

- Jaime

Rita Macedo - Selma

Carlos López Moctezuma -

Juan Enrique Lucero - Dr. Daniel Jaramillo

Julissa - female passenger of the coach (as Julissa del Llano)

Roy Fletcher

Arturo Corona

Armando Acosta - Other passenger

Victorio Blanco ;

Beatriz Bustamante - Witch

1. In fact, the cable eye and torture of the eyes themselves are a bit 'Baviana an obsession and it returns the whole of the film from when they begin to fill and pulsate with white, while the witch tries to return life to as to eliminate the vampire must pierce the eyes. These particular strike me deeply because I have deep anxiety whenever they are targeted in the eyes of scary movies. Following two catches by Italian film, released in South America with the title of the devil Mascara, which should dispel any doubt as to the borrowing of ideas in the Mexican film.

2. In this regard I have found some significant covers made by the great Jose Guadalupe Posada a series of Mexican history books for children written by Heriberto Frias. Here there are a couple dedicated to the key figure of Malinche, but also another in a classic event in the history of colonialism or the fall and destruction of Tenochtitlan (capital of the Aztec Empire) by the English invaders, who was heralded by the appearance of a woman dressed in white according to the commentaries of the time, shouting desperately seeking their children just like the Llorona. This is to underline how the historiography and the political will of the Mexican nation were very strong in shaping the culture to come.