Are your movies churros? Yes. Are they all gunshots? No. Apart from being the vigilantes who put criminals, drug traffickers and petty criminals in their place, Mario and Fernando Almada they also ventured into the horror film genre. They did it with movies whose stories ranged from colonial legends to dwarfs that were used as ventriloquist dolls.
Because their names and images were box office magnets, the producers used their fame to star in horror films. With the low-budget features and wacky storylines, the horror movies with the Almada brothers had the sole purpose of entertaining. And they did so with the public that was devoted to them. On the other hand, curious and moviegoers who love 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 show himself on the screen to make himself known. Mario did not want to be an actor, but he agreed to appear in the frame with a villain role to save money. It was the movie that launched them to stardom.
Viewers were pleased to be surprised that an apparent 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 murdered and resurrected puppeteer in a horseman thanks to an alleged pact with the devil, captured the interest of a sector of the public, especially from Guanajuato tourist guides who absorbed this fiction to tell it as a legend.
The strange son of the sheriff
A horror western? Of course, with the Almada brothers everything was possible. Set in the late 19th century in the west, This 1982 film tells of the martyrdom of the sheriff of a town 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 requests the services of a doctor (Mario Almada) to separate them. One of them dies, but his spirit takes over the living brother. From that moment on, strange things begin to happen because the boy has a clear idea: he does not want to rest in peace as revenge for his father’s decision.
The death of the jackal
The Galindo brothers were encouraged to produce this film in 1984 with one particular goal: face the Almada brothers as enemies. For that they resorted to a script that combines thriller with horror. The public who went to theaters to see it believed that it was an action tape, however, they came across something very different from what they had seen of their idols.
With a dark photograph, novel for what was done in Mexican cinema at that moment, the plot revolves around the appearance of corpses of women hanging on hooks inside a fishing boat. Bob (Mario Almada) and Roy (Fernando Almada) are two policemen who must search for the serial killer behind these crimes. Without many clues within reach, a razor worries Bob, which makes him suppose that Roy is the psychopath who attacks his victims with a Doberman and then kills them.
Mexico was late in the production of horror films for a strictly youth sector, as was the case with series B materials in the United States. Total, late but it arrived. And that was possible with guys like René Cardona III (Horror holiday) and Rubén Galindo Jr., who directed this film in 1989.
He appealed to Fernando Almada to play a former inquisitor monk in the past and a current police captain who must put on the waistline of a group of young grave robbers who inadvertently resurrect a man who in colonial times wanted to beget the son of the devil. This subject must be stopped before he makes a virgin woman pregnant and the antichrist is born.
On the edge of terror
In the transition from film made with celluloid to film in video format, this film was produced. Whether it was for entertainment or fun in his long career as a director, Alfredo B. Crevenna directed this delusional work starring Fernando Almada.
Almada personifies ‘the Greek’, an insane ventriloquist who loses his sanity when he stops being successful. His frustration is discharged with the dolls, mistreating them, beating them and mutilating them. The problem is that his dolls come to life on their own, or are they kidnapped dwarfs that he exploits? But that doesn’t stop there. It becomes denser when he turns his little daughter into a doll for his shows.
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