A later entry in the series of Mexican Gothic horror films, MUSEO DEL HORROR also marks one of the last of the horror films directed by Rafael Baledón for Jesús Sotomayor Martínez. Baledón also directed LA LOBA for Martínez the following year, another compelling period horror film.
MUSEO begins on the streets of Mexico—it seems to be the 1890s but the time period is never actually hinted at—where pretty young girls are being abducted off of the streets by a mummy-faced killer, who drags them to a secret room underneath a cemetery. There, he dumps a vat of boiling wax onto them.
Most of the plot centers around Marta (Patricia Conde), and the guests at her mother's house, all of whom become suspects as the film progresses. Professor Abramov (Carlos López Moctezuma) is a hot- tempered taxidermist, and takes peculiar fascination in his work. Luis (Joaquín Cordero) was once a great actor, but an accident in his past has reduced him to a cripple; now he is the manager at a theater (or museum—it's never made clear if it's an operating theater), where he gives tours to patrons who come to see his museum of wax figures. Marta's childhood friend, Dr. Raúl, is a famous local doctor; unbeknownst to anyone, he performs morally compromising experiments on cadavers, both supplied by the hospital and by a couple of grave diggers. Raúl is in love with Marta, but she does not return his affection. Instead, her affection is directed towards Luis.
MUSEO's biggest asset is Baledón's direction. Atmosphere begins immediately, and the film's obviously modest budget is bolstered by effective location shooting. Some ghastly visuals of the killer dispensing with his victims and one particularly good dream sequence (although possibly culled from another film) really set the horrific mood of the film. A good soundtrack (library tracks?) also helps the proceedings.
The script is competent, but not particularly deep. The two leading men vying for Marta's affection are mostly unlikable, and having both of them suspects diminishes the romantic values of the film. Many characters are introduced, but little to no background is given for them, let alone names.
In many ways, MUSEO DEL HORROR uses a similar formula to the Italian Giallo films that would become in vogue within a few years, although the film's lineage of period horror pieces of the '50s, particularly HOUSE OF WAX, are also obvious to genre fans. Like many Mexican films of the era, however, the tension is somewhat derailed by several musical numbers, obviously placed to satisfy a general audience.
While not top-shelf Mexican cinema, MUSEO DEL HORROR is an interesting entry in the horror films that were produced there during the '60s, and in many ways still above average and work seeking out.
MUSEO begins on the streets of Mexico—it seems to be the 1890s but the time period is never actually hinted at—where pretty young girls are being abducted off of the streets by a mummy-faced killer, who drags them to a secret room underneath a cemetery. There, he dumps a vat of boiling wax onto them.
Most of the plot centers around Marta (Patricia Conde), and the guests at her mother's house, all of whom become suspects as the film progresses. Professor Abramov (Carlos López Moctezuma) is a hot- tempered taxidermist, and takes peculiar fascination in his work. Luis (Joaquín Cordero) was once a great actor, but an accident in his past has reduced him to a cripple; now he is the manager at a theater (or museum—it's never made clear if it's an operating theater), where he gives tours to patrons who come to see his museum of wax figures. Marta's childhood friend, Dr. Raúl, is a famous local doctor; unbeknownst to anyone, he performs morally compromising experiments on cadavers, both supplied by the hospital and by a couple of grave diggers. Raúl is in love with Marta, but she does not return his affection. Instead, her affection is directed towards Luis.
MUSEO's biggest asset is Baledón's direction. Atmosphere begins immediately, and the film's obviously modest budget is bolstered by effective location shooting. Some ghastly visuals of the killer dispensing with his victims and one particularly good dream sequence (although possibly culled from another film) really set the horrific mood of the film. A good soundtrack (library tracks?) also helps the proceedings.
The script is competent, but not particularly deep. The two leading men vying for Marta's affection are mostly unlikable, and having both of them suspects diminishes the romantic values of the film. Many characters are introduced, but little to no background is given for them, let alone names.
In many ways, MUSEO DEL HORROR uses a similar formula to the Italian Giallo films that would become in vogue within a few years, although the film's lineage of period horror pieces of the '50s, particularly HOUSE OF WAX, are also obvious to genre fans. Like many Mexican films of the era, however, the tension is somewhat derailed by several musical numbers, obviously placed to satisfy a general audience.
While not top-shelf Mexican cinema, MUSEO DEL HORROR is an interesting entry in the horror films that were produced there during the '60s, and in many ways still above average and work seeking out.