Home Doll market Terror: Mexican cinema and horror films with the Almada brothers

Terror: Mexican cinema and horror films with the Almada brothers

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Are your films churros? Yes. Are they all gunshots? No. In addition to being the vigilantes who put in their place the criminals, drug traffickers and petty criminals, Mario and Fernando Almada they also ventured into the horror film genre. They did this with films whose stories ranged from colonial legends to dwarves used as ventriloquist dolls.

Because their names and pictures were box office magnets, the producers used their fame to star in horror films. With low-budget features and wacky storylines, horror films starring the Almada brothers were all about entertainment. And they did it with the audience that was dedicated to them. On the other hand, curious people and moviegoers in love with Mexican kitsch have found cult pieces in these titles, both for their production and for their characters.

The witch riders

Who would have imagined it! Mario Almada was 44 years old when he produced this film in 1966 with the intention of supporting his brother Fernando, who wanted to be a singer and needed to appear on screen to make himself known. Mario didn’t want to be an actor, but he agreed to appear in the frame with a villain role to save money. It was the film that propelled them to stardom.

Viewers were delighted to be surprised that a seemingly rural Guanajuato story was indeed a film with touches of terror. The theme of witchcraft with the presence of the witch Salomé (Kitty de Hoyos) and the appearance of a puppeteer murdered and resurrected in a horseman thanks to an alleged pact with the devil, captured the interest of a sector of the public, especially tourist guides of Guanajuato who absorbed this fiction to tell it like a legend.

The strange son of the sheriff

A horror western? Of course, with the Almada brothers, anything was possible. Located at the end of the 19th century in the west, This 1982 film tells the martyrdom of the sheriff of a city who becomes the father of Siamese children and causes the death of their mother at birth, so he decides to lock them up and chain them for seven years because they are ashamed.

Everything changes when he seeks the services of a doctor (Mario Almada) to separate them. One of them dies, but his spirit takes hold of the living brother. From this moment, strange things start to happen because the boy has a clear idea: he does not want to rest in peace to take revenge for his father’s decision.

The death of the jackal

The Galindo brothers were encouraged to produce this film in 1984 with a particular goal: face the Almada brothers like enemies. For that, they used a scenario mixing thriller and horror. Audiences who went to the movies to see it believed it was an action tape, however, they stumbled upon something very different from what they had seen of their idols.

With a dark photograph, romance for what was being done in Mexican cinema at the time, the plot revolves around the appearance of the corpses of women hanging from hooks inside a fishing boat. Bob (Mario Almada) and Roy (Fernando Almada) are two police officers who must search for the serial killer behind these crimes. Without much clue at hand, a razor worries Bob, causing him to assume that Roy is the psychopath who attacks his victims with a Doberman and then kills them.

Grave robbers

Mexico has fallen behind in the production of horror films for a strictly youth sector, as was the case with the B series in the United States. Total, late but it has arrived. And it was possible with guys like René Cardona III (Horror vacation) and Rubén Galindo Jr., who directed this film in 1989.

He called on Fernando Almada to play a former inquisitor monk in the past and a current police captain who has to put the size of a group of young tomb robbers who inadvertently resurrect a man who in colonial times wanted to father the devil’s son. This subject must be stopped before he makes a virgin pregnant woman and the antichrist is born.

On the verge of terror

In the transition from film made with celluloid to film in video format, this film was produced. Whether for entertainment or for fun in his long career as a director, Alfredo B. Crevenna has produced this crazy work with Fernando Almada.

Almada personifies “the Greek”, a mad ventriloquist who loses his mind when he ceases to be successful. His frustration is vented with the dolls, mistreating them, beating them and maiming them. Problem is, his dolls come to life on their own, or are they kidnapped dwarves he’s exploiting? But it does not stop there. It becomes denser when he transforms his little girl into a doll for his shows.

Disclaimer: This article is generated from the feed and is not edited by our team.


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