From the 1951 novel by poet and novelist Julio Sesto, starring Mary Esquivel, who was one hot number, directed by the prolific Juan Orol. A rough tough Western crossed with a hell of a floor show.
Frame 32″ x 42″, poster 26″ x 35″
Price on request.
Juan Orol was a “one man band” in his movies. In most of them, he participated in more than two or three of the main activities of the film: production manager, director, producer, writer or actor. He was a man who felt he should participate in and supervise everything. Despite this, he was not a sophisticated technician, unlike his friend Ramon Peon. Orol did things because of his drive and his passion for the films without taking much time in his studio. He did not try to explain the psychology of his characters and the geography of the locations that he used. For him it was enough that there were scenes and characters. However, his films proved successful and managed to reach the public taste. Not surprisingly, Orol boasted that he was The director of the crowds.
Juan Orol has been compared with American filmmaker Ed Wood, canonized as “the worst director of all time”. However, unlike the American filmmaker, Orol did not need a posthumous tribute to be recognized. He earned box office success in his time, the public admired his filmic muses and his evil gangsters, no matter the plot and technical poverty of his productions. He ignored criticism of his work, like with I Hate You and I Love You (1957), a film that the critics directly called “very bad”. He even had the luxury of doing remakes of his own work: he made a new version of Dear Mother, his biggest hit, in 1950. Ed Wood, meanwhile, never hit the mainstream. His works were a succession of failures with limited exhibitions, and he only made a fifth of the number of films that Orol made. But both share the precariousness of their mode of production, and today are considered “cult directors”.
Orol stretched his film’s budgets and was known as a director of one shot. He did not use special effects in his works. In Gangsters Versus Cowboys virtually all the armed men died, but none shed a drop of blood. The film director Sergio Véjar, camera operator of Zonga, The Diabolic Angel (1957), says that Orol ordered Mary Esquivel to paint each of her nails a different color to extend her hands to the camera, thus reducing production costs. Likewise, he did not go in search of exotic locations, although his plots required them in most cases. In Los misterios del hampa(1944), whose screenplay was set in Chicago, a bus in the background reads “Cozumel Peralvillo-Line”, a typical line of trucks of Mexico City. In Zonga…, a film that takes place in the Amazon rainforest, there is in the background a monument to Bolivar from the Bosque de Chapultepec in Mexico City. Juan Orol did not care about details.
Juan Orol is also regarded as the spiritual father of the called Rumberas film for having the laid the foundations that enriched the film genre. Also, he is known for having imported to the Mexican Cinema two of the biggest stars of the genre: María Antonieta Pons and Rosa Carmina.
In 2012, Juan Orol was the subject of the biopic El fantástico mundo de Juan Orol, directed by Sebastian del Amo. Orol is played by the Mexican actor Roberto Sosa. The film is based on real events, but freely interpreted by the authors.