Yes, every once in a while, I wonder — after watching movies like The New York Ripper, Cannibal Holocaust, Last House on Dead End Street and on and on — do I have the capacity to be shocked and upset any longer?
Happily, a steady diet of Mexican 1980’s VHS era films has proved that I still have the capacity to be upset by movies.
1988’s El Violador Infernal (The Infernal Rapist) is the kind of movie that saw Fulci’s roughest film and said, “Yeah, but what if the killer was the main character and he sniffed coke and we ripped off Shocker?”
Carlos (Noe Murayama, who came from Japan to Mexico with his dentist father and ended up being a character actor in tons of movies) is the main character, who is about to die in the electric chair when Satan herself (Ana Luisa Peluffo, who was in Vagabundo en la Lluvia and one of the first mainstream Mexican stars to appear nude in films; her career stretches from 1948 to 2014 and here, she was already sixty years old), who is a fabulous older woman dressed and shot in the way that only telenovela characters and the finest drag queens dream of being filmed.
She tells him that if he wants to live, he must sexually assault people, kill them and then carve 666 into their bodies. She seals the deal by firing laser beams out of her eyes and blasting his brain into the body of a drug dealer. These are the kinds of scenes that I keep rewinding and watching before sending them in the middle of the night to Bill from Groovy Doom like some kind of insomniac zombie fiend.
I mean, she promises him quite literally “all the drugs.”
His first kill is the drug dealer’s best friend, who he first overdoses on a bad batch of heroin, then, just when you’re thinking, “I hope he doesn’t have sex with that guy’s dead body,” that’s exactly what he does before repeatedly stabbing the man and carving the number of the beast into his freshly defiled ass. Seeing as how this is shot with wacky synths and with a lead who it’s difficult to tell if this scene is making him laugh, cry or come, this movie starts in a bewildering fashion and does not let up.
For some reason, the cops can’t catch a criminal who has come back from the dead, uses his real name and tells people what he is about to do and basically goes after every woman who works at the same beauty salon. He’s able to make them float, surround them in fog and kill them one by one, yet none of them say, “Girl, don’t go out with Carlos El Gato. He’s bad news.”
Eventually, El Gato screws up and doesn’t carve seis seis seis into an asscheek quick enough, which leads to Satan flinging him off a roof after he shrugs off numerous cops shooting him.
Wow. Obviously, Mexican films of this era had no budget to go with their utter lack of morality. It’s amazing to me that this movie even exists. I learned of it by wanting to see what other films that Princess Lea, who is also in Intrepidos Punks and La Vanganza de los Punks, was in. I can only imagine what other indignities she would suffer in her other films after this one.
Note: Just because I wrote about the Herschell Gordon Lewis goes to Mexico direct to video sleazefest doesn’t mean that I condone sexual violence toward men and women. Obviously, if you know me or have read any of my writing, you know where I stand on these issues. Yet in today’s society, I feel like I have to make some form of disclaimer to let you know that I find the behavior in this film — as well as others I’ve mentioned — abhorrent. Now let’s all treat each other with respect and empathy while loving really bad movies.