Pel Mex (Peliculas Mexicanas)
-local office Alberto Pasqua and Juan Carlos Arecco
-distribution of films of minor directors without great support
-caused flourishing of many companies independent
-covered Mexico, Argentina, central and south America and US
-important since 1964 when it connects to SIFA to 1974 when it disappears in middle of its
success
-first film is La diosa impure for Filmex Gregorio Wallerstein coproduction with Mexico
-other films La mujer del zapatero, Los dias calients, la tentacion desnuda and La senora del
intendente
-all his films were his but opened paths for others
-started off with them but then went to Colombia Pictures for their internationalization
-Sandro and Libertad Leblanc were important stars for Pel-Mex
-Sandro was a classic star Emilio Vieyra and Leo Fleider through Produucciones Arroyo y
Cinematografica 70
-Leblanc- her own manager and was not connected to anyone worked with Emilio Gomez Muriel
Alfredo Crevenna and Kurt Land worked with Vieyra and Fleider and Orestes Trucco and
Emilio Spitz (producer) before Pel-Mex
-Nacidos para cantar and La complice (sexploitation with Leblanc) Renee Cardona were the first
films distribute PelMex
-sexploitation and musicals
Libertad Leblanc:
Cinetelmex Argentina La perra and La cama and La endemoniada
La venus maldita
Seis dias para morir
Esclava del deseo
Una mujer sin precio
PelMex
La buscona
Todos los pecados del mundo
La bastarda
Leblanc abrio el Mercado a Vieyra
Testigo para un crimen era Leblanc desconocida en Argnetina per no en el Mercado latino
Maria M –failure attributed to the censorship it received in Argentina
Extrana invasion-science fiction b class
Placer sangriento
La venganza del sexo
La bestia desnuda
Sangre de virgenes –vieyra y trucco
-all of these were for the latino market in the east coast of US
-market was puertoriquens who were ignored by US market – 4 cinemas in Queens, Brooklyn
and Manhattan
-had Sarli-bo and Leblanc’s productions
-all of these productions were not seen in argentina with exception of Placer sangriento others
also were distributed in argnetina
Villa carino esta que arde distributed by pelmex
-first three films of sandro quiero llenarme de ti, la vida continua, Gitano- gave sandro his fame
-loved in Venezuela and Paraguay
Los mochileros- hippie road movie
Asi es Buenos aires- musical with tango star hugo marcel
Simplemente una rosa- Leonardo favio
Yo gane al prode
La gran aventura –ends relationship between Vieyra and Pelmex
La for de irupe
Acosada
Mi secretaria esta loca, loca, loca
Recordando al zorzal
Un soltero en apuros
Destino para dos
El deseo de vivir
Palito el optimismo y el conformismo social
Sandro violencia o melancholia
Leo Fleider con Sandro despreocupado de su prolijidad narrativa o structural- preferia seducir
entrentener y explotar los attractios
Hizo Muchacho y Destino de un capricho
Siempre tea mare
El deseo de vivir
Embrujo de amor
Operacion Rosa Rosa
Vieyra con Sandro-formalmente impeccable
Tu me enloqueces dirige Sandro mismo
Papa conrazon se quiere casar
More titles etc.
- decade 1960s was not auspicious for industrial system
- in Argentina where values had gone to the right of the political spectrum the old
industrial valudes were subsidized by the state
The Studios in Mexican Cinema book
Clasa studio built in 1934- received funding from the state –like mgm
Azteca began in 1937
-both controlled most of the production
-1944 Emilio Azcarraga radio producer and founder of tv monopoly in future and RKO pictures
built Churubusco studios
-formed new company
Carl J. Mora Mexican Cinema, Reflections of a Society
-p119Jan 21, 1971 Rodolfo Echeverria proposed a plan for restructure of Mexican film industry
renovate objectives change the image of Mexican cinema
-state owned Banco Cinematografico, theatre chain Compania operadora de teatros and
Churubusco studios
-mixed public and private ownership distribuors peliculas mexicanas and cimex and procinemex
(promotional firm)
-group is maintained at the high cost of the government to benefit group o industrial or private
producers guided by rapid recuperation and maimum rentability- produced commercialist cinema
and took advantage of established mechanisms from financing to exhibition provided by state
-film school ccc and cineteca nacional –preserving prints
-by 1976 state was sole owner of America studios, Procinemex, peliculas nacionales (absorbed
cinemx) and cadena de oro (only remaining privately owned theatre chain)
banco nationalized in 1960
-p102 January 1, 1954 Banco annonunce its reorganization play by assigning distribution to three
large companies it created: peliculas nacionales for distribution in national territory ; peliculas
mexicanas for latin America, spain and protugal anc ienmatogria Mexicana exportadora Cimex
for the rest of the world
-capitalization of these three companies was provided by producers 8 % of gross income to
peliculas nacionales and peliculas mexicanas and 2 % to cimex
-growing state intervention increased commercialist nature of industry
-made for the middle class
-greater number of coproductions with cuba, spain, france, and Venezuela
-late 50s trend make more spectacular films in color new techniques and inject hesitant
erocticism into melodramas by display of nudity to draw domestic audiences away from tv and
make mexico more competitive internationally
-more of an assembly line and more formulas
-p.77 Jenkins (US vice consul in Puebla) owned movie houses in puebla
-extended monopoly over a large part of country
-principle stockholder in original banco cinematografico
-during President Aleman Banco cinematografico private firm was reorganized with 10 million
pesos from government and banco de mexico, nacional financiera and banco nacional de mexico
-peliculas nacionals was founded in 1947
Vol 5 Historia documental del cine mexicano Emilio Garcia Riera
-p.237 Peliculas mexicanas SA de CV distribuye en LA Spain and Portugual
-11 affiliates whose action belongs to them completely except for in Cuba, Urugay and Peru
where they are associated with 50% of the local capital
-1953 had 9 accionistas including Banco Nacional and only one affiliate in Brazil
-other distribuyan in LA was property of local capitalists
-local companies would dictate percentages of the company
-1973 had 20 associates and capital and 18 million
-council of administration of 12 producers and director of banco nacional cinematografico who is
the president of the council
-objective is to give unity to the policy of distribution and keep an eye on the important financial
figures
-producers give 8% of shares to pelmex
-p237 name of the people on the council –associated with Sarli-Bo
-p238 in 1954 cinema became more puritanical an erradification of the vice and sin
Vol 6 Historia documental del cine mexicano Emilio Garcia Riera
p8 tendency to make movies were costly and spectacular for the foreign market
-less films 89 (119 year before) 19 color and 4 in cinemascope and 1 in superscope
-before both of these were controlled by Jenkins and now producers are owners of most of stocks