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And that fact has made Neutron a little hard for me to avoid.

Finally I decided to just suck it up, tuck in, and not come up for air until I'd watched the lot of them.

As much as I like the old black & white, early 60s lucha movies, I found that particular one a bore, mainly because it featured a whole lot of talk and very little Neutron.

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(Not that you would expect that, mind you, but imagine how awesome it would be if this film actually was an attempt at a faithful remake of , out of the four Neutron movies I've seen, is the most like a standard lucha film, mainly due to the nature of its padding; for one, it has an actual wrestling match in it (and with Fernando Oses, no less), and it also has, like Santo's , a shitload of nightclub set musical numbers.

One of those numbers is performed by an act called Hector Cabrera and His Gay Crooners, and I want someone to give me a medal for not making a joke about that.

Because of that, those sparse occasions on which Carlos does don his Neutron guise seem somewhat arbitrary, as if he just wanted to continue his detecting while giving his nipples some air.

It's been noted elsewhere that the modus operandi of the killer here is similar to that of the killer in Michael Powell's - specifically in that he films the murders as he commits them - but it's of little consequence, since the standard whodunit structure, necessitating that we only get fleeting glimpses of the killer in the course of committing his crimes, makes this film about as far from Powell's intimate psychological portrait as you could get.

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, he's reduced to fighting just whoever happens to be on hand.

well, holy shit), but the fact is, when something like this is done right, you really feel like you're watching a maniacal villain in a wrestling mask having a conversation with a roomful of disembodied brains harvested from kidnapped scientists for the very first time. This is quite a well made film, exhibiting all of those qualities present in the most well appointed and technically proficient of the early lucha films: Rich black and white photography, moody night-for-night shooting, and camera work that makes the most of some impressive and atmospheric set designs - basically the same Film-Noir-meets-Universal-monster-movie look we see in great early Santo films like is virtually nonstop - and always outlandish.

My favorite scene has got to be the one in which a fleeing Death Robot, on the brink of being captured by Neutron and his pals, commits suicide by pulling off his own head.

My starting point was is that it affords us ample opportunity to really savor the wonder and strangeness that is Neutron's nemesis, Dr. As perfect a specimen of a hysterical megalomaniac as you could ask for, Caronte prowls his vast laboratory in an outfit that bespeaks of a certain career ambivalence, equal parts wrestling togs and surgeons scrubs, affectionately leading his freaky uni-browed dwarf assistant Nick by the hand as he proclaims and declaims in a booming voice about his various dastardly designs.

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