Tramp pilot Scott McBride goes to meet a Mr. Rodriguez who has a mission for him in the South American jungle. Rodriguez turns out to be Cesar, an old enemy of Scotty’s, who demands that Scotty fly him and his henchmen, on the lam on a robbery and murder charge, to a waiting ship on the other side of the continent. Scotty can’t refuse as his young son is being held hostage on the waiting ship. He also finds out that he is getting involved in theft of $280,000 worth of gold bars.
The disaffected wife of a failed civil servant, is thrilled to re-encounter Octavio, a former lover who is now a union activist on the run from a corrupt politician. Hoping to help him, she descends into the Mexican underworld, where she finds a purpose-and a thrill-missing from her married life.
The legist doctor, Juan Carlos Lozano, is in charge of investigating a series of murders of women. However, he wishes to renounce the case, since he has had nightmares about a mysterious man without a face. Without knowing what to do, he goes with his friend and psychiatrist Eugenio Britel, who encourages him not to give up on the investigation, as well as to start a treatment to discover the reason for his dreams.
In spite of looking a mess (as though it had been subjected to some sort of butchery), this remains a weirdie of the first order: a perverse religious allegory in the form of a Western. The Kid is a vicious psychopath given to laughing a lot, an actor manqué (anyone who doesn’t like his ‘performance’ is shot) who leads a gang of looters and rapists, and is incestuous with his father to boot. The town’s resident Mater Dolorosa, madam of the brothel, hires her lover Marcado (meaning scarred: ‘We all have scars, and the ones inside never heal’), a tight-lipped killer in the Eastwood mould, to kill the Kid, who is of course her son.
A white woman enters into a romance with a Mexican Indian. The racial barriers between the lovers prove to be insurmountable, resulting in tragedy.
Probably the most delightful Cantinflas movie ever made, Cantinflas goes from the streets of Mexico to the fabulous palaces of the Far East. Overnight, he becomes a Caliph, then a magician, then several other fascinating characters, each one providing another facet of Cantinflas’ unique human comedy.
A criminal organization hires some ninjas to steal the formula for a new drug, described as cheaper and more powerful than cocaine. As it turns out, the industrialist who financed the research has taken elaborate steps to make sure that the new substance won’t fall into the wrong hands, and the ninjas find they have only succeeded in stealing half the formula. To please their disgruntled employers, the evil ninjas try to blackmail the industrialist into handing over the remaining half and it’s up to the Mexican Ninja and his pals to stop him.
The film is related from the point of view of Alsino, an impoverished Nicaraguan lad. While his country and its rotting buildings crumble all around him, the idealistic Alsino imagines himself to be a condor, flying far above his deprivations. It is during one of his hallucinations that Alsino jumps from a tree; the fall cripples him, turning him into a hunchback. He will only straighten out to his full proud height upon joining a guerilla band, fighting the corrupt government armies. Significantly, Alsino & the Condor was the first production to be filmed in Nicaragua after the Sandinista revolution and the overthrow of Somoza.