El ataúd del vampiro (1958)

El ataúd del vampiro (1958) The Vampire's Coffin

Possibly months after the events of El Vampiro (1957), we follow up on Marta (who's revealed to be a dancer, and thus this scenario predates The Vampire and the Ballerina (1960)) and Dr. Enrique who works at Louis Pasteur Hospital.

He's been trying to convince her (but also himself) that all that they dealt with has a rational explanation. His rational mind refuses to believe in what still amounts to superstition.

Unfortunately, he told of his adventures to a colleague who, most imprudently, steals the corpse of Count Lavud and brings it to Mexico City. Sure, one can call the character idiotic for it, but while the audience knows beforehand the supernatural is a real thing in this story, this fellow is a scientist and a skeptic. Graverobbing is a crime, but the disbelief in the supernatural shown by many characters (hospital staff, cops) isn't unrealistic. It's reasonable to think that upon learning of the phenomenon, a scientist might be interested in studying it... Well, graverobbing and studying the corpse might be a step too far, but were it all done legally? I can see it.

Not every reaction is realistic, (Enrique could have gotten more help by coming up with a more natural explanation for the cops) but enough is that when we encounter odd behavior we can give it a pass.

The fellow graverobber who helped him not only blackmails him for more money, but also later breaks in to steal the count's valuable medallion, and as a result revives him. The vampiric count allows him to live but hypnotizes him into becoming his minion; and an impressive henchman he is. He is the night guard at a Chamber of Horrors which is not only a most useful hideout but also provides a most cruel and gruesome fate for an undeserving character.

Marta's aunt, the surviving one who had been poisoned and nearly buried alive, and already a bona fide vampire slayer, was the self-appointed vampire-tomb guardian, but her efforts came to naught. She comes to the big city to warn the couple of the stolen coffin.

This is not only a rare role for a woman character (in a Mexican movie, no less!), but also for an elderly female. Compare this to the role of screaming victim our heroine is relegated to.

Behaving as if straight out of Stoker's novel, Lavud has no compunction in victimizing children for their blood, (instances where he ignores many crucifixes at the hospital, surely an oversight on the filmmaker's part.)

Abel Salazar as Enrique allows himself to react emotionally, maybe not as any particular person would to the circumstances, but he refreshingly permits his character to exhibit nervousness and fear in a most human manner.

The film is filled with interesting details: As before, transformations are achieved with a nifty substitution trick straight out of Jean Cocteau; dialogue had been interrupted in the previous film with a train whistle, and here it is done with a telepathic voiceover, a favorite of Luis Bunuel; a copy of Rodin's Thinker is used in an interesting manner; a storefront scene recalls not only Hopper's Nighthawks but leads into a chase with clever use of Expressionistic, Noirish shadows where the scream of a victim transitions to a trumpet at the theater; etc.

An exciting kidnapping attempt at a theater during a primitive/Pacific islander dance number prompts what seems to be an homage to King Kong, (and possibly also The Phantom of the Opera) with a panicked mob rushing out of their seats.

This isn't quite The Nightstalker (1972), but it's still a film that successfully puts a traditional vampire in a simplified, though still contemporary setting where the monster doesn't feel out of place.

In what may be firsts, a crucifix is put together from disparate components and an undead vampire is automatically revived when a stake is pulled out of his heart. I remember this last being told to me as a kid, but I don't remember ever encountering it onscreen. This may be the film my older brother was referencing.
Someone else will have to verify these two cinema firsts.

Also with Ariadne Welter and Germán Robles.

This was a lot of fun.