Yambaó

Unfortunately, Ninon Sevilla was induced to reprise her "mulata" in the ill-conceived, poorly directed (Alfredo B. Crevenna) Yambao (1957). Aware that Pedro Armendariz had done his best to steal her limelight in "Mulata" (1954), Ninon was delighted with second-rate co-stars Ramon Gay (from the Aztec Mummy pictures) and Senorita Durgel, with whom she had worked harmoniously in Crevenna's 1956 "Amor y Pecado". So the accent is firmly on Sevilla all the way. Alas, she proves a huge disappointment. The film's poster lists seven songs and dances, but there seemed more a like dreary dozen to me. All but one are total write-offs, while the one that is mildly pleasant has nothing to do with the movie and seems to have been added as an afterthought. Not that the foolish, half-baked story with its copycat echoes of far better films like "Chloe" is any more entertaining. And as for the acting, the word "puerile" comes readily to mind, even to describe the exotic Sevilla herself who way overdoes the eye popping, teeth gnashing and similar amateurish histrionics. What's worse, she disappoints her fans by confining her dancing strictly to repetitive mambo-junko. We keep waiting for director Crevenna to wake up and realize this dime-store potboiler would play better as a comedy. Alas, he never does, even though Ninon's over-the-top scenery-chewing should have caused lightning to strike.

One of my sci-fi/horror/fantasy reviews written 50 years ago: Directed by Alfredo Crevenna; Produced by Ruben Calderon; Mexican production Released in America retitled "Cry of the Bewitched" by Azteca Films (Spanish-track) and Domino Films. Screenplay by Julio Alba and Julio Alejandro; Photography by Raul Martinez Solares; Edited by Gloria Schoemann; Music by Lan Adomian and Obdulio Morales. Starring: Ninon Sevilla, Ramon Gay, Rosa Elena Durgel and Fedora Capdevila.

Mexican voodoo film lacks the proper atmosphere, emphasizing instead (to the point of exhaustion) Nino Sevilla's oile limbs writhing in vaguely Allison Hayes- "The Disembodied" styled postures. A modicum of white nightgown action is included for the dedicated fans, and the hammy acting is fun.

I'm going to be real lazy here and just copy the plot summary from IMDb - "Cuba, 1850. On a sugar-cane plantation, the master and his wife are happy : they're expecting a child, their slaves are quiet. But tonight, as the full moon rises, the sound of the drums are in the air. Yambao, the grand-daughter of a sorceress killed 15 years ago, has come back.. With her grand-mother's spirit." Much better and more succinct that I could ever have put it.

Overall, I'll call Yambao a disappointment. From what little I'd read in the past about the movie, it is neither as good or as scandalous as I'd been led to believe. I'd call it a fairly lame, predictable melodrama with way too much dancing, drumming, and chanting. Star Ninón Sevilla is the one bright spot. I'm not familiar with her other work, but here, she really gives it her all. Sevilla shines in every scene. She's a naturally sensuous woman and conveys that sensuality in her every move. The script here, however, lets her down. Co-star Ramon Gay is too bland to give her much to work with. A real disappointment.

Yambaó aka Cry of the Bewitched could have been a passable movie if the filmmakers would have played up some of the more theoretically good aspects of the script, the horror or eroticism or they could have reversed course after seeing how terrible the acting was and turned it into a deadpan comedy. Instead they stuck with it and we end up with a boring melodrama. The lowlights are the endless musical numbers and the one highlight would be the unexpected ending.

The first (and only) time I seen this movie was back around 1965 or 1966 on an old heavy 13" tube type B/W TV. I have not seen it aired since then. Would really love to find a copy of this movie despite the somewhat vague memories I have of it. I would put this movie in among the other oldies which I'd rate as one of the cult classics! Back in the days of the "Friday late night shockers", this was one of the number of memorable classics I recall. I have to give this a "10" rating, simply because it left such an impression on me. It was fairly risqué for it's time, but compared to today, well, it's pretty tame. Nonetheless, I was captivated by it's presentation. A good rare oldie!