Reel Bad Cinema: Santo Against Blue Demon In Atlantis (1970) review

SANTO AGAINST BLUE DEMON IN ATLANTIS 1970 aka SANTO CONTRA BLUE DEMON EN ATLANTIDA

El Santo (Santo, Enmascarado de Plata), Blue Demon (Alejandro Cruz), Jorge Rado (Aquiles), Augustin Martinez Solares (Pierre Duval), Rafael Banquells (Professor Gerard), Magda Giner (X-25/Circe), Silvia Pasquel (Juno), Rosa Maria Pineira (Afrodita), Hector Guzman (Poseidon), Griselda Mejia (Regina)

Directed by Julian Soler

The Short Version: For this entry in the long running, but short on logic Santo series, the indefatigable Silver Masked Man of Mystery is a secret agent for the 'Organization of Planet Security' who, in his spare time, enjoys romancin' and wrestlin', but not always in that order. This time it's a flimsy Atlantean plot devised by a deposed Nazi scientist bent on nuclear destruction aided by stock footage from Japanese giant monster movies and Italian muscleman epics. It's a terrible film, yet hopelessly entertaining and will put a submission hold on your brain if you attempt to make sense of it all.

A Nazi scientist named Aquiles (like Achilles) rules over the lost city of Atlantis; which happens to be hidden--and I use that word loosely--beneath a small island. This Third Reich renegade threatens civilization with a nuclear attack from space via stock footage from GODZILLA VS. MONSTER ZERO should they not comply with his demands. Aquiles's typically evil Nazi plan is to enslave mankind and rule with his own super race of beings... but not if Santo and Blue Demon have anything to to say about it.

El Santo, Masked Wrestler supreme, keeps himself busy with a day job as a government spy working with Professor Gerard to locate up and coming Mexi-Führer Aquiles and the lost city of Atlantis.

On a slow day in the spy game, Santo engages in a two out of three falls match with his rival, Blue Demon. During the fight, Blue Demon is drugged and quickly whisked away by Aquiles' thugs. Since the match must go on, Santo pursues, but loses them during a high speed 35 mph car chase that ends with his car crashing down an embankment.

Upon arriving in Atlantis, Blue Demon's skills and strength impress Aquiles enough to offer the wrestler a place in his army.

Refusing to join them, Blue Demon is hypnotized through a multi-colored mind controlling device and sent after Santo.

At the same time, El Bond Enmascarado de Plata searches for the villains lair battling numerous bad guys, spies and Blue Demon in a bizarre "dog fight" with helicopters. Santo is eventually captured and hynotized by Aquiles' deadly disco ball of doom. He's then sent to kill professor Gerard and wreck his lab.

The plan fails when a couple of those nonsensically bizarre "out of nowhere" instances of subterfuge arrive to confuse you just prior to Santo and the Demon making Aquiles and his forces black and blue.

After setting explosives, the mountain base is blown to smithereens via stock footage from the endings of HERCULES & THE CONQUEST OF ATLANTIS (1961) and WAR OF THE GARGANTUAS (1966)! Yes, this is a milestone in cult cinema where masked wrestler movies intersect with Italian muscleman epics and Japanese monster mashes.

Lucha Libre Mexi-movie madness strikes again with this double drop kick flick featuring two masks for the price of one. Santo and his real life wrestling ring rival, Blue Demon, go mexo-a-mexo for the bulk of the movie. Predictably, and as usual, they join forces during the climactic budget blow out beneath a swimming pool doubling as the ocean.

SANTO AGAINST BLUE DEMON IN ATLANTIS is easily one of the worst of the series which, strangely enough, isn't a condemnation considering the Geiger Counter for entertainment value is off the charts in this one. It's reliance on stock footage from other movies, bad photography and messy editing is like an open challenge to Ed Wood from director Julian Soler.

For instance, Aquiles is supposed to be this former Nazi scientist, yet his rockets are adorned with the Japanese flag and other Kanji (stock footage from MONSTER ZERO). The scenes from HERCULES & THE CONQUEST OF ATLANTIS (1961) are also obvious, at least for those who are familiar with that movie.

One scene has Santo enter his apartment only to find a naked woman lying on his couch. Suddenly, the lady is exiting his bedroom wearing lingerie!

Later in the movie, Santo is captured and seemingly put under hypnosis by Aquiles. Then, Santo enters the lab of professor Gerard and promptly begins destroying things. All of a sudden another Santo shows up--the real one, and kills the double revealing him to be one of Aquiles' operatives. No explanation is given as to how Santo had escaped. If it was, it was in Spanish as this movie had no English subs. Either way, we never visually see how Santo managed to escape Atlantis.

The photography is equally chaotic. The cameraman must have drank too much Sangria during the shoot as the camera is occasionally too low, or out of focus. Also, the camera tripod is clearly visible (see above) during a scene where Santo realizes Blue is under the influence of the Atlantean Nazi madman.

The fights are plentiful with bodies being pounded, punched, flipped and kicked with rapidity. Santo only gets to tango in the ring once here; during the first twenty minutes, he and Blue meet in the squared circle for a two out of three falls slug fest. We never do get to see the tie broken once both men get a three count on each other.

Blue's win is a brutal highlight, though, culminating in a flying head smash from the top rope to Santo's solar plexis on the concrete floor.

Blue Demon (erroneously billed here as Alejandro Cruz) was one of the most popular Mexican wrestlers who got his own series of crazy Luchador movies.

While they reportedly weren't friends in real life, Santo and Blue Demon's wrestling ring rivalry spilled over into the films they did together.

From those I've seen where Blue co-starred with Santo, Blue Demon always ends up being controlled by the villains till he comes to his senses during the conclusion where he joins El Santo in beating the holy hell out of the remaining bad guys, or monsters. In this way, Blue Demon doesn't have to be made out to be an intentional villain in Santo's movies, considering his offscreen popularity.

Some of Blue's movies include BLUE DEMON VS. THE INFERNAL SPIDERS (aka HELL SPIDERS [1966]), BLUE DEMON VS. THE INFERNAL BRAINS (1966), THE MUMMIES OF GUANAJUATO (1970) and THE CHAMPIONS OF JUSTICE (1970).

The villains lair is the usual cave set from other movies dressed up with flashing lights and cardboard devices that are supposed to look both scientific and expensive. To put this in perspective, Soler's movie makes any of Bert I. Gordon's big bug flicks look like THE TOWERING INFERNO by comparison.

The score by Gustavo Cesar Carreon is good, but in a Saturday Morning Cartoon, Hannah-Barbera kind of way. Never a dull moment, the fact that there are no monsters might mean a no-sell for some fans of these films. Lovers of bad movies will likely end up with heart burn from eating this over-stuffed, flavor-bursting, bean burrito.

This review is representative of the Lionsgate double feature DVD paired with the B/W version of SANTO & BLUE DEMON AGAINST THE MONSTERS. There are no English options.

Santo In the Treasure of Dracula (1969) review

SANTO IN THE TREASURE OF DRACULA 1969 aka SANTO EN EL TESORO DE DRACULA

Santo (Santo, El Enmascarado de Plata), Aldo Monti (Dracula), Noelia Noel (Luisa), Carlos Agosti (Dr. Cesar Sepulveda), Alberto Rojas (Perico), Roberto G. Rivera (Dr. Kurr), Jorge Mondragon (Professor Soler), Fernando Mendoza (Professor Van Roth), Guillermo 'Lobo Negro' Hernandez (wrestler)

Directed by Rene Cardona

The short Version: This late 60s Santo flick was originally in color, but for some reason, Rise Above Entertainment was only able to deliver a B/W version. With the level of Gothic atmosphere on display, the monochrome format fits just fine. It's yet another wacky Mexi-horror, this of the Lucha Libre school of absurdity. Santo is more than a wrestler this time out; he's a scientist who has created a time machine with which to go back in time and procure the treasure of Dracula. If only he could go and bring back the alternate sexy version of this production, the world would be a safer place.

Santo, masked wrestler, crime fighter and protector of children everywhere, has added a new profession to his resume; he's now a scientist who has built a time machine. For whatever reason, Rod Taylor wasn't available, so Santo sends Dr. Sepulveda's daughter, Luisa, back to past places instead.

Ending up in 19th century America(?!), Luisa is now part of a Mexican version of Bram Stoker's Dracula. After the Latino bloodsucker makes her his undead bride and co-owner of his vast treasure, Santo (who has been watching the whole thing unfold on his TV monitor) saves Luisa from being staked by Van Roth. Actually, the films editor rescues her by playing the film backwards. This also reverses the effect of Luisa's vampirification (Is that even a word?)

From there, Santo and friends go looking for Drac's tomb to locate his gold via his coveted medallion. How Dracula got to America, but buried in Mexico is never explained (Are they supposed to be in America the entire time?).

Realizing the vampire's ring is also required, a second trip reveals the ring has been stolen! The mysterious gangster, The Black Hood was secretly watching Santo's every move and barters for the medallion by challenging Santo to a match with his son, Atlas. If Santo wins, Black Hood forks over the ring; if Santo loses, then he has to relinquish the medallion. The Silver Masked superhero wins of course, but Black Hood brings Dracula back to life culminating in a big brawny battle above and below Drac's tomb. Yes, it's a battle royal, falls count anywhere, South of the Border Scuffle between Santo, Dracula, Black Hood and his beefcake goons and a last minute interference by Santo's wrestling pals.

Rene Cardona, that prolific director who spit out countless movies like candy being whacked from a pinata, helmed over a dozen masked wrestling movies. These were hugely popular in their native Mexico, but remain curious cult items in America enjoyed by the ragtag few who appreciate their undeniable kitschy charms. By the time he'd gotten around to shooting SANTO IN THE TREASURE OF DRACULA, there had already been about twenty Santo flicks with Cardona the mastermind behind half a dozen of them.

Judging by the movies of his I've seen, Cardona was disinterested in artistic flourishes. He seemed to prefer a wide eyed fascination towards exploitation brought to motion picture life with an energetic ineptness seldom rivaled anywhere else.

TREASURE OF DRACULA slums it about a third of the time, but the balls out craziness of the plot, like just about all Mexi-Masked Man movies, is enough to make one wonder if they heard the plot synopsis right.

Throughout his career, Santo was always a wrestler; but at any given point during his film career, the fabled Enmascarado de Plata was moonlighting as a crime fighter, a Bond style spy, and in the case of this picture, a scientist! Yes, the Silver Masked One has devised a time machine. However, his intellectual colleagues laugh at his invention.

What's interesting, or not so interesting about this movie is that Santo isn't in it all that much till the halfway mark. This is because Santo claimed a woman was a better suited guinea pig to test his theory in time travel. He never explains this reasoning, but no doubt it's really because writer Alfredo Salazar couldn't come up with a suitable scenario to send Santo instead. So he and his two pals watch precariously from the wrestlers laboratory... sorry, I had a momentary chuckle fit.

Anyways, what makes this sequence so unintentionally humorous is that they're somehow able to see everything that's going on via television set and get so caught up in what they're watching, it's like they're catching a late night viewing of Creature Features.


Santo also gets a goofy, comic relief sidekick here in the form of Perico, a live action Tex Avery cartoon with these enormous glasses.

Some reviewers seem to have a problem with his character, but considering these movies were intended for the entire family (yes, apparently bloody stakings, decapitations and folks being tossed off buildings in various Santo movies were perfectly suitable for the small fry set in Mexico back then), he comes off like a Spanish speaking version of Shaggy from Scooby Doo without the ravenous appetite.

Carlos Agosti will be recognizable to fans of Mexi-horror. He played good and bad guys, two of the most notable being his turn as Count Siegfried Von Frankenhausen from THE BLOODY VAMPIRE (1962) and its surreal sequel INVASION OF THE VAMPIRES (1963). He's also in the typically wacky color Santo flick, SANTO AGAINST FRANKENSTEIN'S DAUGHTER (1971) among a slew of others.

Fans may also notice that Santo's fashion sense is different from past episodes. In earlier movies, he was runnin' around in his wrestling spandex and boots and flowing cape seemingly 24/7. By the end of the 60s, he was sporting a suit and tie and saved his wrestling gear for the ubiquitous squared circle confrontation; the one seen here occurring an hour into the feature.

Santo does brawl quite a lot here, though. These plentiful fight scenes in his movies make his career all the more remarkable; that he would go out and sling opponents around and get pummeled in the ring day in and day out and then beat the tar out of stuntmen and take a pounding himself on the sets of movies. Truly, Santo set the standard for famous wrestlers having an equally famous movie career. Even the highly overrated Hulk Hogan was never as popular both in the ring and on movie screens.


Somebody on this movie had a serious crush on fog machines; either that or the crew had a few poker games goin' on between takes. Nearly every scene has some foggy mist creepin' up on ya' in some way or other. There's also a bunch of spooky shots of Dracula peekin' in on potential victims through windows and big rubber bats flyin' in and out of frame.

In addition, Dracula has a harem of vampire women who put in a couple of appearances. Which brings us to what really makes SANTO IN THE TREASURE OF DRACULA of special interest. All this Gothic ambiance suits the B/W version and makes the film look like it was made much earlier, akin to the fog enshrouded examples of Mexi-horrors from the early 60s.

Towards the end of the decade and into the 70s, some of the Mexi-ploitation movies were having alternate scenes made for export audiences much like their Spanish counterparts. Cardona's NIGHT OF THE BLOODY APES (1969) is a good example of this.

EL VAMPIRO Y EL SEXO was an adult version that was presumably intended for international release. Curiously, if this version was never intended for domestic consumption, why even have a Spanish title and poster?

Incidentally, it appears this racy movie, as mysterious as the Enmascarado de Plata himself, was finally exhumed and screened in its color version in Mexico. You can read about it HERE and HERE. Photos exist of the 'muy caliente' female Drac Pack lettin' it all hang out which appears to be all we're ever going to see of this alternate cut.


Rene Cardona continued directing even more wacky Mexi-movies even going so far as to lure his offspring, Cardona Jr. into the filmmaking fold with his own warped sense of movie mania. Cardona Sr. was also responsible for such TV favorites as DOCTOR OF DOOM ([1963]NIGHT OF THE BLOODY APES was a remake of this), WRESTLING WOMEN VS. THE AZTEC MUMMY (1964) and WRESTLING WOMEN VS. THE MURDEROUS ROBOT (1969). His movies, like so many of the Santo epics, rarely made much sense but were loads of goofy fun.

Never meant to be taken seriously, this is one of the beauties of Mexi-movie madness; they're totally unpredictable and sustain themselves on sheer brainless ingenuity that belies their meager budgets.

SANTO IN THE TREASURE OF DRACULA isn't one of the best films in the series, but it's ineptly entertaining and to say it has an outrageous premise would be redundant where this genre is concerned.

Also, the movie is only 82 minutes long while the box erroneously lists it as 90 minutes. Those seeking a Santo slugfest could do much worse, but the film is nonetheless important from a historical perspective for its elusive alternate version that has proven to be as difficult to see as these films plots are difficult to figure out.

*Poster images: Google Images*

This review is representative of the Rise Above Entertainment DVD.