The only thing more colorful than the luchadors themselves were the posters. Continue reading Off the Top Post: Lucha Movie Posters
A while back I held forth at extraordinary length about The Mummies of Guanajuato, detailing how it was the first film to team up lucha cinema’s “Big Three”; Santo, Blue Demon and Mil Mascaras. I also bloviated at the expense of many words on how it went on to reap rich rewards at the Mexican box office as a result. Given that success, one might think that producer Rogelio Agrasanchez would be anxious to repeat the formula as soon as possible. And the fact is that Agrasanchez did hope to include Santo, along with Blue Demon and Mil Mascaras, in the all-star lineup up of his Champions of Justice the following year.
One need only glance over the many titles in the lucha movie genre to see that there is a long history of enmity between Mexican wrestlers and mummies. This goes all the way back to 1964, when Elizabeth Campbell and Lorena Velazquez threw down against a pop-eyed, reconstituted Aztec warrior in their sophomore effort as The Wrestling Women, Las Luchadoras contra la Momia, and continued throughout the rest of the sixties, during which Santo, the most celebrated movie luchadore of them all, would come up against shambling bandage jockeys in films like Santo and Blue Demon vs. The Monsters and La Venganza de la Momia. But the conflict didn’t really kick into high gear until 1972, when the success of a little film called The Mummies of Guanajuato (aka Las Momias de Guanajuato) guaranteed that, for the next several years, Mexican movie screens would seldom see respite from the spectacle of colorfully-garbed, masked Mexican grapplers working their moves on a seemingly endless series of inexplicably muscular mummified adversaries.
Ten years into his film career, Santo had already faced off against zombies, witches, mummies, mad scientists, vampires of both the male and female variety, hatchet-wielding ghosts, homicidal table lamps, and Martians. So it was only a matter of time before the denizens of Atlantis got to the front of the queue. When that time came, Santo would also find himself mixing it up onscreen for the first time with one of his greatest adversaries from — and I use the term advisedly — the “real world” of lucha libre. And just who would that adversary be? Well, I could try to be coy about it, but the journalistic specificity of Santo vs. Blue Demon in Atlantis‘ title would render the effort redundant.
God help me, I love Santo y Blue Demon contra los Monstruos. I love it like you love a three-legged dog. Sure, my love may be tempered by pity and mild derision, but I love it, nonetheless. And hopefully you do, too. Because, if not, we’re going to have a problem. Santo y Blue Demon contra los Monstruos marked the 23rd screen appearance by its star, a man who entered the world as one Rodolfo Guzman Huerto, but who achieved legendary status in the world of lucha libre as El Santo, the Man in the Silver Mask. Santo was in his early fifties at this point, but, despite his prime wrestling years being behind him, his iconic status in Mexican popular culture was undiminished. In fact, he was still fairly early in his screen career at this point, with another couple dozen films ahead of him.