Pick of the Brown Bag
July 1, 2024
by
Ray Tate
Unfortunately, life and scorching weather keeps getting in the way of my reviewing, but I'm still here. I still consider myself an active reviewer.
For this posting, it's time to wash the shit-taste of the latest so-called Supreme Court judgement out of our mouths and relish the lovely insanity of La Mujer Murcielago. In English, The Bat Woman.
I first encountered The Bat Woman in...hang on a minute...I don't exactly remember where I first saw this poster.
It may have been as early as my childhood with Famous Monsters of Filmland.
Regardless, whenever I first saw the poster, it hooked me. A dangerous, sexy femme Batman starred in a film. I had to at least see that movie.
I eventually did. It took a while. A long while. I purchased a grey-market DVD. Although at the time La Mujer definitely was in public domain. I could only understand every other word, since Mexican is the spoken language, and the DVD lacked subtitles. Nevertheless, I liked what I saw. Years and years later, after a New York Times feature on Maura Monti, I kept my eye out for a promised top-of-the-line Blu-Ray.
Two Blu-Ray manufactures present La Mujer in all its glory. Because I was already a fan of the film, I chose the Indicator brand distributed by Diabolik DVD, an excellent source for strange and cult film Blu-Rays.
Indicator already enjoys a reputation for immaculate films on physical media. Your other choice is VCI. I have had very good experiences with VCI. They used to be an alternate Alpha Video. After they started releasing things like Burke's Law and Honey West, they stepped up their game. I have no doubt that VCI's version of Batwoman is visually excellent. As good as El Santo and the Treasure of Dracula. This review however represents the Indicator 4K restoration.
As well as the pristine movie, Indicator includes informative extras. Mexican cinema expert David Wilt, provides a long-running audio commentary. Perhaps the best extra is a lengthy, fascinating interview with The Bat Woman herself, Maura Monti in the present. You also get a feature on the history of Mexican cinema associated with comic books. Well illustrated with many examples. Another documentary with the subjects Mexican horror and monster movies. In addition a spiffy 83 pic photo gallery and a trailer that shows some sparks throughout to demonstrate what shape the movie used to be in.
Indicator furthermore includes a 74 page booklet, filled with photos, some unduplicated by the Blu-Ray. The booklet boasts the smashing "The Mask of Bat Woman" by film professor Dolores Tierney. An archival interview with Maura Monti from 1967 on La Mujer and excerpts from books and magazines that cover the subjects and genre.
La Mujer combines Lucha Libre and Batmania. It's not a parody of Batman. Indeed in some instances, La Mujer is as serious as a Universal monster-movie sequel, say The House of Frankenstein. It's also sometimes smarter than expected.
Maura Monti plays Gloria, last name not given, a brilliant, wealthy socialite who is secretly the masked wrestler Bat Woman. Monti performs the majority of her action sequences, Scuba-Diving, judo, karate, etc. She takes on a whole gang of plug-uglies, and given her powerful build you can believe every moment when she physically overcomes the opposition.
Maura Monti as Batwoman in wrestling gear pitted
against her friend Esmeralda
Monti however does not wrestle in the ring. A professional female Luchadore grapples in the brief bouts. Director Rene Cardona provides continuity by having Monti wear the wrestler's Bat Woman suit, before doffing it for the fucking amazing Bat-Bikini outfit, gauntlets, short cape, boots and cowl. Oh, there's sex appeal all right.
Interpol agents Mario Robles and Tony Roca come to Mexico to investigate a series of murders; victimized wrestlers. The Mexican authorities believe Bat Woman can provide an ample assist, and here we get the weird hybrid of Mexican wrestlers becoming crime fighters. Bat Woman is different however because she uses the requisites of the Mexican wrestling world to her distinct advantage. Gloria protects her secret identity partly through the Lucha Libre tradition begun by Santo. Santo only removed his mask in public when he retired. Really.
Gloria acts more like a crime fighter than a wrestler, despite exhibiting talent. Santo was quite the opposite. You get the impression that Santo sort of fell into crime fighting. In any case, Gloria also knows the Interpol agents of old, and they appear to be the only people who know her true identity. Neither is a love interest.
The Bat Woman though dripping with sexuality isn't interested in a date, at least at the moment, and only exhibits friendliness toward the agents. Indeed, Bat Woman could be gay. Could be straight. Doesn't matter. This is refreshing. Usually, there must be some kind of romance shoehorned into a film. Even Santo occasionally has a girlfriend in danger. Not La Mujer. No time for subplots or padding. The movie runs a brisk 80 minutes unedited and doesn't waste a second.
Following the clues and performing no mean detective work, Bat Woman and her fellows trace the murders back to Dr. Eric Williams, a scientist, who yes, is quite mad. You'll find out why. Williams is a known quantity in Mexico. He's not hiding. He lives and works on a yacht out in the open. Here introduces another engaging quality of La Mujer and the character of Bat Woman.
Bat Woman investigates this whack job on her own. Interpol and the police demand evidence before they lay a finger on Williams' yacht. Bat Woman is a vigilante. She only humors the law. Soon, she's trespassing and smacking around bad guys that try to interfere with her snooping.
The first part of the story almost acts like an episode of a Bat Woman television series, and a rather tame one at that. We get cleavage and tease, but no actual nudity. Mind you. It's nice cleavage and tease. We get a mad scientist, but no blood and gore. Bat Woman's initial encounter with Dr. Williams takes the movie into darker directions.
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Bat Woman during her escape scars Dr. Williams for life, and after that all bets are off. Williams gets his mad on in a big way. Kudos to actor Roberto Canedo. Transforming from distinguished man of sciene--albeit nutso--to cackling maniac. Williams dedicates his life to humiliate and exploit Bat Woman. His men having been on the receiving end of her chops and right crosses want to destroy her.
Although a low budget film, La Mujer exemplifies body horror. Don't worry, it's still mild when compared to Reanimator, but harsher when compared to the 1960s Batman television series. Williams now wants to use Bat Woman as a reproductive female. Not for himself, mind you.
The well-designed monster in the movie is played by underwater cinematographer Alfonso Barcenas. For that reason the shots beneath Acapulco Bay between Monti and he are spectacular, imaginative and in some cases genuinely threatening. Carlos Suarez is also notable as Igor. Suarez's lab assistant fawns all over Dr. Williams. He sees his vision and wants to make it happen.
La Mujer takes some very interesting dramatic beats and doesn't fall too often to tropes. Williams' means of securing victims is ingenious. Certainly, his revenge scheme that also accomplishes his scientific goals is presented in a unique fashion. Williams sees Bat Woman as a specific feminine threat. He doesn't personally want to rape her. He wants his monster to commit the crime, but in Williams' twisted scientific mind, it would be a simple mating. Alas, Williams underestimates Bat Woman at lethal cost, leading to a genuinely explosive finale. Highly recommended.
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