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When one thinks of "destape" movies, it is clear that the films which Ozores produced during that period fit into that category. Yet, I have my reservations towards putting Ozores in the same basket alongside other directors. All his films have a unique quality. You can tell when a destape movie has been made by Ozores or when it is just a vile copy (for exaple, terrible flicks like "El Cid Cabreador", "Juana la Loca de Vez en Cuando" or "El Holding de la Mosca").

Having said that, I have to say that Ozores never lost his theatrical pace and that this "Liguero Magico" has a wonderful first half before succumbing to boredom. Almost every line spoken here has a delirious and terrorist quality that almost no one has achieved in Spanish cinema. Free yourself from prejudices and enjoy, at least, the first half of this great film that could have been greater. Andres Pajares rarely performed better than here.

My memories about this film are, somehow mixed. On one hand, it his probably one of this director´s most boring films. On the other hand, it must be seen as the beginning of a new stage in Ozores career where he regained the attention of the media and even managed some screenings in big cinemas. His strategy was a wise one: having failed to achieve his own "star system" which should have replaced the Esteso-Pajares power duo, he chose to give main roles to tabloids front-pagers. In "Tahiti´s Girl" he picked the Thaiti´s Girl Vaitiare who, at that time, was dating no other than Julio Iglesias. Publicity flowed and Ozores returned like a Fenix. But it did not last. His last attempt at this formula was "Disparate Nacional", shot with doubles of the aforementioned tabloid front-pagers. It got response from tabloids but not at the box offices and marked, thus, his departure from filmmaking.

Miss ya.

Being used to seeing remakes of high-budget movies, it is somewhat delirious to watch the king of Spanish sexploitation - ladies and gentlemen, Mariano Ozores - shooting a even-lower-budget remake of his 80´s hit "Los Bingueros".

The truth is that, after the sucessive departures of his stars Fernando Esteso and Andres Pajares, don Mariano Ozores was starting to lose his punch. Spain itself had evolved and people had realized that there were more sophisticated ways of enjoying nudity. Democracy was already well-established and thus, a source of the best Ozores humour, the jokes about how new and strange was the ending of a dictatorship that it seemed it would last forever, was lost. Ozores natural audiences were, too, growing old, and were less keen to attending cinema theaters.

Given this situation, it is understandable that Ozores wanted to regain his audience by applying the same old formulas and by making remakes such as this one or "Con el Pan Debajo del Brazo" or "Esto es un Atraco". It did not work: everything was stale and liveless. Yet, this movie has its memorable moments, specially the ones which serve to display various pork products from the Spanish company "El Pozo". Not only Ozores places the products all over the screen, he also zooms into them shamelessly. All exteriors kick off with "El Pozo" adds and, if the characters are in the streets, you should expect a "El Pozo" van crossing. Better than Tarantino selling Kangol caps in "Jackie Brown".

And, for the rest of the film, you can always enjoy the infernal performances of Antonio Ozores and Juanito Navarro, the political jokes that were not understandable a week after they were made, or the "helicopter shots" that were done by shooting a photograph.

In a time when "cinematic terrorism" is confused by the tamed Farrelly bros, people should come back to Ozores. He is the real thing. And, in these later, decadent movies, his greatness is somewhat more revealing. Enjoy.