A beautifull artist (Cristina Ferrare) moonlights as a vampire while in Mexico, killing lovers of both sex. It seems that the only person who has any chance of stopping her reign of terror is her father (John Carradine), who’s also a vampire. —TCM
López Moctezuma, born in Mexico City in 1932, was the son of a judge, and his family originally wanted him to study law as well. However, the young man rebelled and eventually became involved in painting, the theatre, and radio/tv work. In 1959, he created “Panorama de Jazz,” a program on Radio UNAM that—although López Moctezuma left it after a few years—became an institution in Mexico and ran for more than 35 years. His last radio show ended in April 1995. López Moctezuma also worked in television for many years, mostly on “cultural” programs, and continued his stage career.
While López Moctezuma—in an interview with Beatriz Reyes Nevares for the book The Mexican Cinema: Interviews with 13 Directors… read more
Hot off the heels of his sensational first film The Mansion of Madness, J.L. Moctezuma followed up with this sexy and stylish mash-up of giallo, vampire films, and mystery stories. Set in modern day Mexico, Chistina Ferrare plays Mary, a brilliant artist with a dark secret. Beset by some paralyzing disease, she must seek out and kill random individuals in order to drink their blood and ensure her survival. But not only are the FBI and Mexican police on her trail, but so is a mysterious cloaked stranger. Things are further complicated when Mary falls in love with a fellow drifter, and must control impulse to survive. At its heart Mary, Mary, Bloody Mary is an experimental and surreal work that has more in common with the likes of, say, David Cronenberg than it does with the average horror film. Moctezuma is a master when it comes to staging these brilliant and delirious scenes, and establishing a real sense of place and atmosphere. And there is a real melancholy here. This is a sad film. Ultimately a tragic romance.
Truly an art film when it comes down to the nail, but no coffin to pummel into it with this vampire slasher film. The lead vampiress lends a would-be classic status to those who have had the pleasure of seeing it, driven to murder but performed in a survival rather than psychotic pounce on the prey. The surprisingly stable 'natural' relationship feels forced, but that's the point. Force into a double life.