Unlike the unreleased $100 million BATGIRL, recently buried by NetFlix*, this slapdash Mexican production (not part of the DC Comics empire!) likely cost less than a million 1968 pesos, yet it’s been in continuous release since it first came out. Directed by the prolifically untalented René Cardona, 126 credits including an infamous SANTA CLAUS/’59 that boasts a remarkable 2.7 IMDb user score (out of a possible 10), this BATWOMAN rates a ‘stellar’ 4.7. Much like her male namesake, this crime fighter keeps her identity secret, is rich & bored, and on call by police & her North-of-the-Border F.B.I. guy. Unlike Batman, she wrestles professionally (Mexicana style) and apparently gets by sans butler, boy wonder or jet-powered auto. She does keep a makeup compact case that transforms into a pistol and wears a far more revealing suit: the Bat Bikini. Yikes! The story involves a facially scarred, mad-scientist (natch) murdering athletic wrestlers to collect a gland extract he’s using on Barbie-sized Fishmen he hopes to grow into full-sized fish-monsters he’ll use to take over the oceans. All this silliness has long supported a cult (half celebratory/half derisive), but recently, mostly because of lead Maura Monti, gaining something of a feminist respect (ignore the tag ending – ‘Eek!, a mouse’), and now a serious film restoration. The enthusiasm something of a stretch. If only Cardona had a clue on where to put the camera, when to move it, and how to stage action . . . or inaction.
DOUBLE-BILL: Hard to believe, but sophisticated director Philip Kaufman got his start (along with Jon Voight) on something along these lines and about this budget in FEARLESS FRANK/’67.
ATTENTION MUST BE PAID: *$100 mill a guestimate since NetFlix ain’t talking.
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