Me Dicen El Asesino Por Ahí: Pistoleros Famosos (1981) & Un Hombre Violento (1984)

Episode Transcript
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(00:00):
Hello everyone, thank you for coming in to Trashmex Podcast, episode 2, which we entitled

(00:21):
me the murderer, which means I am the killer here. Whatever translation it'll come up with,
but yeah that's kind of what the topic is today. We're gonna talk about two killer films, literally
two guys, two famous actors that are always played killers, you know, always had a gun in hand or
you know had their fists up sometimes, fucking somebody up, you know, whether it's for revenge

(00:48):
or you know fighting the law or them being the lawmen. So yeah we're gonna talk about a movie
starring Mari Almada and a movie starring Valentin Trujillo, two famous actors from back in the day
of Mexican cinema and yeah let's see what are the movies Joe you tell them. So the first movie

(01:08):
we're gonna break down is Pistoleros famosos which uh I'm gonna nerd out on that one as you should
because Pistoleros famosos for those who have seen it know that this movie is an absolute fucking
masterpiece and the funny thing is even though it's mainly going to talk about Mari Almada,
there's other actors in there that were kind of kind of mingled in there real clear, we're gonna
mention them because there's a lot of actors in this movie that are watching. There's a lot of actors

(01:31):
and there's actually some legendary actors in this movie. Very legendary to Oya. That'll be the
first one we break down and then the second one is gonna be a Valentin Trujillo film, un hombre violento.
Yeah it has an as an English title called the making of a killer. Which dare I say that might be a
better title? Honestly yeah because that is kind of what the movie's about. It's kind of what happens.

(01:52):
Yeah he literally becomes a killer because you know we'll get into it right now but yeah it's
there's a reason why he becomes this killer or whatever assassin. Yeah it's yeah that movie.
Un hombre violento which means violent man. So yeah same thing too he's violent but you know.
I just think you know the the Americans knew how to market movies right? So I mean so anyways yeah

(02:14):
we're gonna be talking about these two movies. We're also gonna be covering for those who are
not familiar with what a corrido is. Yeah we're gonna dwell into Mexican music and then when
if Pisto Lerozamos I'm gonna nerd out with the crime angle as well. So you're gonna get treated
to movies, music and crime today, real life crime. Yeah we're gonna get we're gonna get deep here.

(02:36):
We're gonna attach a lot of things to this. There's also gonna be a playlist of
corridos that we're gonna have linked in the show notes for those who are unfamiliar or those who are
well into the genre of corridos and not just narco corridos but corridos in general. Yeah
songs about killers, assassins and drugs and then ones about a horse that I added in there.

(03:01):
But the horse belonged to a criminal. I'll get into that later though. It's all tied in.
It's all tied in. So let's get right into it here. We're gonna start off with Pisto Lerozamos.
Actually no we're gonna start off with the corridos. Yeah for those who are not well
corrido is that's a type of genre that's spanned from like what the early 20th century was it really?
Oh yeah for sure yeah. Mexican Revolutionary times so they were making songs about people like that

(03:24):
you know like Pancho Villa, Zapata and stuff like that. Then you go into like the 40s and 50s and 60s
all of a sudden it changes into like crossing the border, bringing in contraband, alcohol, you know drugs
and then 70s and 80s that's when they're singing about actual people. You start hearing the names
and people start knowing who these people are. Yeah and then yeah in the 90s and 2000s they get

(03:49):
more popular, more mainstream and then whereas today it's more mainstream than ever you got
Peso Plumabinda, the face of corridos now. I mean I don't think he's a bad musician but he is like
a defining person for now you know. I think we just reached that age where it's like all the
generation behind us like what the fuck are these folks doing? To me whatever they're great

(04:10):
musicians and stuff it's just not a genre that I'm into. But it's still like that's where it
roots from though for sure. Absolutely yeah so that's where he's coming from you know he's heard
those songs so he's bringing in his own stuff now. Yeah I guess that's one way to put it is that you
know the genre now has kind of morphed into a kind of blend of everything that Mexican music is

(04:32):
whereas these older songs from like the the 40s and stuff you know it's just straight up rancheras
and there's not always about a person like you know these corridos can be about a city, an event.
Yeah there's always going to be a city involved, a setting like a ranch setting mostly. Yeah and
it's I don't know man it's a classic John Rudd stuff that I'm sure every Mexican household has

(04:53):
heard yeah. Yeah exactly we all grew up listening to the corridos even if you didn't know it was a
corrido you know you've heard these songs before. Yeah like I dated a girl and I was telling her like
you know it was a song playing I was like what do you think this song is about she don't know Spanish
she's like is this like a romance song I was like no it's about a guy he sold drugs he's in jail now.
What song was that? It was uh the number one by Los Intocales de Tijuana yeah it's uh Rafael

(05:17):
Garo Quintero for those who don't know 80s drug trafficker Kilt Camarena the agent yeah you get the
idea yeah that's a pretty intense song and you know personally I know um when you think of corridos
me personally because my family's from Zacatecas I think of corridos with banda
yeah so there's different kinds you got your norseño sound and then Zacatecas band banda yeah

(05:43):
and personally I prefer that over the ranchera style or the norseño style but you know it kind
of just goes with the territory of what a corrido is right it kind of just blends different
uh different style of music with different different stories and different characters and
things like that um so yeah I mean there's gonna be a playlist attached to the show notes so um

(06:07):
you know go click the link it'll be on Spotify and it's awesome yeah it's dope I picked out good
songs I don't know what Joey picked but I picked some good ones for sure Joey you know I trust Joey
Joey's picks and bangers I mean to me they're bangers they're all bangers in some way yeah
they're all bangers and different sounds for sure though I will say though uh based off of what you
sent me uh I didn't want to have repeat artists on the playlist but my favorite corrido happens to be

(06:33):
from Ramona Yala and you had already put a Ramona Yala song on there so fuck you know what this song
is too much of a banger I just put it in there anyway so the Ramona Yala justified you'll be the
only repeat artist on that uh on that playlist and I kind of nerd it out so when you hear the songs
they're all going to be mentioning matamoros matamoros tamalitos so I kind of themed that out
with like the border you know sound and everything so it's like Texas border tamalipas border sound

(06:57):
well it ties in because pistoleros famosos takes place in the northern region of Mexico so yeah
exactly if you want to talk a little bit about the actual corrido pistoleros famosos yeah yeah
how that came about so pistoleros famosos yeah that's an interesting song because it's not even
about one guy it's not even about two guys it's about several guys yeah multiple guys and two of

(07:19):
them are actually featured in the movie like their names so in the movie they're loosely based but in
the corrido they are mentioned and kind of tells you what they've been with who they were you know
they were just you know shooters you know they shot people down they were criminals and in the song
they just described who they were how they died you know and then the song ends with like you know
there's just gonna be more coming you know this isn't the end of the story you know and then it's

(07:42):
also saying like you know they're trying to say they're brave men too they weren't even saying
like they're you weren't just criminals these guys were actual guys you know they were badasses you
know they were brave they died bravely yeah they were like kind of legends of yeah so that's what
they're doing yeah they're praising these legendary you know men from like the 50s and 60s the five
recall and so for the people who aren't familiar with this this song the pistoleros famosos who

(08:06):
wrote it who sang it because i know it's it didn't become a popular hate until the second time it
was covered right yeah so it was written by julian garza and for those who don't know who julian
garza is julian garza he was a very popular like you know composer from back in the day he was writing
a lot of corridos and he's interesting because he's actually from that same region as well no balloon

(08:28):
and yeah one day it just came to him like hey i want to write these songs so he just started
writing these songs about people that he knew about you know from bound over there which were all
you know criminals you know gunmen drug traffickers and then this pistolero famosos ones yeah he writes
about all of these guys you know in one you know and it became very popular from there with los
cadetes el inades and then everyone in that song is from nuevo león so again it's all tying and

(08:53):
for where hit for he's from where he was born and everything and the people that he knew this is
it's all local and then julian garza himself is a singer as well his brother carlo nanakarlos
louis louis and julian their brother duo so they sang as well so yeah all right and so my my
understanding is that the the movie was spawned off of the corrido right the movie comes after the

(09:19):
the song yeah so pretty much after the song was released of course you know you're gonna have
producers wanting to make a movie about the song so but of course it's not fully about the song
per se because they only mentioned two people in the movie from that song
but overall it's still the same thing you know it's like these guys are legendary gunmen you

(09:42):
know they made a name for themselves by being who they are you know by working with criminals or
then being criminals themselves so that's kind of how it spawned into from there and the movie
itself um it was a massive hit oil yeah um there's pictures you looked up pistol a los
famosos you're gonna see like movie theaters from like Juarez I believe and then of course

(10:05):
montere nueva león where the movie was filmed packed the theaters were packed I mean that's
like crazy you don't even see that no more even for like an avengers movie for example you'll
see theaters packed for sure oh I think this was massive this is yeah and I think it's a different
era I mean you had to show up to the box office to get a ticket that's why you see these vintage
pictures and not just of this movie but in general of these lines that are around the block you had

(10:30):
to show up to buy tickets nowadays you just pull up your fucking fandango and you know you got a ticket
but um yeah let's go into the movie so the first movie is pistoleros famosos which was 1981 correct
and it was directed by jose losa yeah he goes by pepper losa as well which is the nickname yeah the
the nickname for jose for those who don't know and it was produced by roberto consal es benavides

(10:54):
who actually comes out in the movie he's one of the bodyguards in the movie uh when they go to
like the compounder yeah he's one of the bodyguards yeah and then reyes want the mire and they were
both level on base and then fortunately roberto died but reyes want the mire is still alive oh wow
yeah yeah that's crazy you know and um it stars obviously mario almada who's going to be you know

(11:15):
the the focal point for this movie uh his brother fernando alvaro zermeno uh one the first person
that caught my was roberto canyedo who was known for i mean various movies uh he did some santo
movies right um everything i think he was like in everything like every every decade from till he passed

(11:37):
away he was like in everything yeah he was as soon as he gets on the screen if you know who he is you're
like oh you don't even have to know his name but you'll know who he was if you've seen enough mexican
movies yeah um and then another another uh actor or sorry actor or actress that i should say was uh
roci mandosa so yeah she plays the love interest yeah she plays the love interest who she was

(11:58):
banging by the way she was extremely sexy uh and she's known primarily for you know being a
singer dancer she started in a lot of uh sex comedies of the era and here she's just a normal
woman yeah i mean there's there's certain scenes where she's dressed a little too sexy i think but
well one we'll get we'll get into it a little bit later but once once she meets up again with mario

(12:20):
almada then it's like oh shit all right all right because she's kind of just like a a background
character and until her character actually serves a purpose and then oh and then another actor we
forget to mention uh lorenzo de monte claro he's actually a singer too oh shit really very popular
singer from back in the day and he's probably the only one that's still alive actually from this movie
which is ironic yeah lorenzo de monte claro so he's one of the pistoleros famosos as well

(12:43):
and there you go so yeah legendary people right here uh and and it shows because everyone in this
fucking nailed their role nailed their role they played it perfectly like they went in and just gave
it their 100 so let's go into it what for those who don't know this movie what what would you like
what is this movie about so yeah i mean literally pistoleros famosos famous gunman you know you go

(13:10):
into mario amada's character lucio peña you know he's just you really really don't know what he's
doing at all like we just know that he's living a ranch life with his mother and his brother yeah
he it's like one day he just wakes up and shows up at his mom's house yeah that's like kind of how it
starts yeah he's just there with his mother talking about you know ah you know life you know just life
in general talk about their brother well his brother i mean and then his girlfriend that he

(13:32):
hasn't seen in years he doesn't even know what happened to her and then all of a sudden she ghosted
she ghosted him before ghosted was a thing yeah she disappeared she's like maybe she went to the
north like she crossed over he's like i don't know he doesn't even know what to say and then all of a
sudden like one of their neighbors comes he's like hey they shot your brother lucio you know he comes in
and then shit just fucking takes yeah and he just like whoa you know like whoa what's gonna happen now

(13:55):
you know he gets up and then he breaks the like a case or something like a glass like a lock in
like a lock in case he just breaks and he pulls out his guns everywhere and then he goes to the
bar where his brother was shot and the guys are still just there messing with the body they're
just like ah you know they're drunk and just fucking with him and then mario mother bursts
open to the literally bursts open into the door and then bam this is like i think maybe five minutes

(14:17):
into the movie i think i probably believe it was three minutes or maybe three yeah it was like
really instantly it's just instantly yeah you're just like he's just shooting he literally bust in
the door and starts dumping everybody that was responsible for killing his brother

(15:27):
ah
Y no la deje sola.
Si, si.
Cuídate, hijo.
Calmese, señora.
Mis hijos son buenos.
Pero si los provocan, que se aguanten.

(15:50):
¿Qué tanto es un perro menos?
No, no, no.

(16:30):
No, no, no.

(17:00):
No, no, no.

(17:30):
No, no, no, no.
No, no, no, no, no, no.

(18:40):
No, no, no, no.

(19:10):
No, no, no, no, no.
lost love finding each other again.

(19:33):
It's ain't horror but I get what you're saying.
It's like the camera just goes right into these school's eyes.
And like you said, you can actually see the desperation
and the sadness.
You can see the sadness in her eyes
because she knows she's in a fucked up situation.
And you can kind of see, he almost looks pissed off
but it's almost like a little bit of relief

(19:53):
that he's like, oh shit, I finally found her.
Yeah, he knows what happened to her.
And then they meet up with the boss who was played
by Roberto Canyeda.
And he's like, hey, who's that broad?
Is that his daughter?
He thinks it's his daughter.
Yeah, he's wondering like, well, who is his daughter?
No, it's his wife.

(20:16):
And that kind of sets, that's kind of like the midpoint
of the movie, kind of the turning point is when they meet up.
Because right after that, and Zeferino,
Fernando Almada and Coyote, they both kind of like,
hey, what's up with you, Fulig?
They noticed that he was kind of acting,
starting to act a little strange.

(20:36):
And that's kind of the turning point because right from there,
that point moving forward is when he starts sneaking around
with her.
Yeah, he starts meeting with her.
Her name's Myra in the movie.
So he's like hanging out with Myra and so forth.
And then after that, we meet a new character,
I guess he could say, in the movie, the fourth pistol
little.
He was probably my favorite character.
So he's named Henedoso Garzacano.

(20:58):
And he's actually based on a real guy.
He's part of the song.
Yeah, he's part of the song.
Lucio Peña, Mario Maddo's character,
and then Zermenio's character, Henedoso Garzacano.
So they had that guy.
So when they introduce him, they're like,
they need another guy to handle the job of killing someone.
They're like, well, who do we know?
And then they just go to this bar.
And you just see Zermenio right there, his character, Henedoso.

(21:20):
Just drunk and crying.
Typical Mexican guy, right?
Crying about a woman.
And then he starts saying how he fears of women
because there are symbolism of death for him.
He even starts describing how a woman is and it's death.
He starts describing death as a woman, basically.

(21:53):
The death of a woman is white as it says.
It's white as it says.

(22:26):

(23:07):

(23:44):
Yeah, he's foreshadowing his future.
He's basically foreshadowing his future.
Yeah.
And that's kind of why I think he was the best character
because he kind of had this vision that a beautiful woman was like,
when he met these beautiful women or a beautiful woman,
was kind of be like his downfall.
So he's kind of expecting it the whole time.
And he starts kind of lashing out a little bit.

(24:06):
He's kind of like the crazy one, kind of, you know?
Yeah.
And it kind of adds like a little bit of a superstitious vibe to this man.
Yeah, and then of course, he's the most brutal character of all
because he's the one that has the experience of killing people.
Yeah, when he goes to finalize the hit that they hired him for,
fucking sick.
Yeah.
Rolls up on this fool and the guy's like, no, no, no, don't kill me,
don't kill me.

(24:26):
He just has no mercy.
He just doesn't.
Yeah, he literally was just like, no, I don't, I don't,
I don't betray my friends and I don't betray a job.
Boom, blasted this fool.
And that's kind of how it also was in real life,
just to kind of get on there really quick.
And it also was just this brutal hit man, you know,
based out of Damolipas.
He would go back and forth, Novaléon, same thing, brutal guy.

(24:49):
He'd come in and just kill people.
Didn't give no fucks.
I mean, it's kind of, that's who you want.
Yeah, exactly.
So his character is not so loosely based in a way,
but yeah, it's still loosely based on the real guy.
But yeah, they did that in the brutality,
which I thought was cool.
Yeah, he's, I mean, I guess we could talk about,
you want to jump forward?
No, let's break down the rest of the movie because his demise

(25:13):
is kind of a symbolic part of the movie.
But before he, you know, he unfortunately gets blasted.
I think they all, I think it's pretty obvious
where all these guys are going to end up anyway.
Yeah, I mean, it lived by the good side of the career.
So after this point is when Myra and Boussior
have already been fooling around, but she gets caught.

(25:35):
She gets caught by the henchmen.
Yeah, she gets caught by the henchmen.
And he tries to blackmail her.
I forgot how many dollars or how much vessels he won.
And he's like, or you can lay him or I can be in your bed.
He also insinuates like maybe you can sleep with her too.
And she rejects him.
Scratch my back.
Yeah, she rejects him, of course.
And then he's niches.
And that, yeah, that's kind of what a bitch.

(25:58):
He got what he deserved, honestly,
because he's trying to extort sex out of him.
Beautiful woman, but I mean, come on.
You're not going to take Lucy's girl.
He was never going to.
Yeah, so.
After that, that's when Myra runs away with Lucio.
Well, first, that's when Lucio plans
to take her from the crime boss.

(26:20):
It's like the final stand, right?
I'm finally going to take you, your mind.
We're moving out of here.
We're going to go start our life.
Yeah, so he meets up with these guys and he's like, hey,
I want to take Myra with me.
I want to marry her.
Like, all right, let's do it.
And then Goyote is like, hey, there's a party.
Let's go for the party.
Fuck all that shit.
Let's go party real quick.
So this is the thing, though.
So they go to this party.
And it's probably one of the most most memorable scenes

(26:42):
of the movie.
Very iconic scene.
It's very iconic.
And I think you've made a post about it.
Like the actual clip of them driving up and coming out.
Yeah, I love the clip.
The people love that clip, too.
It's fucking sick.
If you haven't seen the clip, go to the Trash Mix Instagram.
It's even on YouTube.
It's on YouTube.
It's everywhere.
It's everywhere, but.
Even on Facebook, somebody more than likely has it up, too.

(27:04):
Fucking sick.
These will literally roll up.
The door is open.
These will come out, pimped up suit.
You guys know the suit.
The same suit your Theo's rocking at your Bautiso.
And then Los Cadetes de Lino are in there.
They're probably one of the most popular Norteño groups
ever straight up.
Oh, yeah, absolutely.
I mean, if they're not the number one,
they're in the top three for sure.
You've heard Mexican music or anywhere playing?

(27:26):
More than likely you heard a Cadete song.
Absolutely.
So they're playing El Asesino, which is kind of an appropriate
song, I guess, for these guys.
Oh, yeah, for sure.
Which is El Asesino, which means the killer or the assassin.
And in that song, basically, it's just about this guy.
He caught his wife cheating on him.
He kills her.
And then he knows he's going to have to go to jail for it,
you know, for the crime he did.

(27:46):
But before he goes and turns himself in,
because he says it in the song, he's
going to turn himself in.
He's going to take whatever sentencing to give him.
But he wants to get revenge on the guy that was with his wife.
So he goes and looks for him.
And I don't know about your opinion,
but he says, abrilesucorazón, which means open and so.
I don't know what then.
What do you think that meant for you?
Abrilesucorazón.
Like, I kept thinking, does he mean

(28:07):
is he going to shoot him in the heart?
Is he going to pluck his heart out?
I don't know.
I mean, there's so many ways you can think of it.
I would imagine that he's trying to say,
like, this is everything I have left, right?
Everything you have left.
And it's do or die.
This is the point.
This is the point.
Yeah, I don't know.
Every time I heard that song, I'm like, what is he talking?
I just have these bad thoughts in my head.

(28:28):
I'm like, there's probably some other thing
he's talking about when he says that part.
But yeah, so it's a pretty interesting song,
because it's, again, about an assassin, you know?
Same thing, kind of like these guys are.
And then when they're singing that song,
they zoom in to them all.
And they're just listening to the song,
and then they're just nodding like, yeah, agreeing to it.
Well, Coyote's trying to dance with every girl in the party.

(28:48):
Yeah, right after that song's over.
So everyone's all serious in that scene
when they're singing.
And then once they're done with the asesino,
that's when they start playing a little dance song.
Yeah, I had it written down here.
El Tejanito.
Yeah, El Tejanito, yeah.
So they start dancing.
Coyote doesn't get to dance with anybody, but he also
gets lucky.
He knows it's like four different chicks, yeah.
And it also is like, he doesn't even say anything.
He just moves around.

(29:09):
He's like telling the girl, like, do you want to dance?
He's just moving his hands around.
She's like, oh, you want to dance?
Yeah, let's dance.
Yeah, it's a good scene.
And then right after the cops come to try to arrest them,
try to bust them, yeah, try to bust them,
or maybe the crime busts into cops.
I don't remember exactly.
Do you remember?
I don't recall that the.
Or was it?
I think they were already kind of.

(29:30):
Kind of already in trouble.
Yeah, like they were already underwatch.
Underwatch, yeah.
I mean, maybe I forgot.
I don't think he's like that.
Either way, but yeah, they come in, you know,
trying to get these guys.
And of course they fight their way out.
They go to the crime boss's house.
Another gun battle.
Oh yeah, baby.
You can't have the word pistoleros in the title

(29:50):
without having gunfights.
And Lucille's there.
He's like, I'm here for Myra.
And she leaves him.
You know, she tells him, like, I don't want to be with you.
You know, she tells her husband.
And he doesn't even stop her.
He's just like, fuck.
Yeah, get the fuck out of here.
He feels defeated, you know.
Which is kind of crazy for like a high ranking boss like that.
Yeah, at that point, he's just like, fuck.

(30:11):
Go away.
Yeah, he's like, eh, get out of here.
I'll find someone better.
Yeah, he'll find somebody else.
Because she was fine.
Oh yeah, yeah, she looked good.
And then this is kind of like the start of the final act.
You know, this is the turning point.
Spoiler alert, Myra dies.
Yeah, she's killed pretty brutally.

(30:33):
She gets ran the fuck over multiple times.
It's really brutal.
She was pregnant to top it off.
Yeah, I know.
It makes it even worse.
And it's kind of crazy because when it happens, it's like,
where are they at?
Where they at a party or something?
Or maybe he was just sleeping or something.
She was sleeping, yeah.
Yeah, and then, you know, they wake this fool up and like,
hey, you know, he's under the impression that Goyote dies.

(30:56):
So he's not even aware that his love of his life is dead.
And when he finds out, fuck.
Of course, you know, they got to get revenge.
I mean, that's the whole point, right?
That's how it all sets up, revenge.
And then after everything happens from there,

(31:17):
that's kind of what will lead to them dying.
These guys are one by one dying, you know?
Yeah, it's like the.
The first one was Goyote, right?
Yeah, Goyote was the first one to go.
He was with some girl.
He gets shot down.
That's blessed.
And then after that, it was Lucia, I believe, right?
Yeah, yeah.
Yeah, yeah.

(31:37):
So Lucio funny enough.
So in the movie, he gets shot outside of the bar, which
is called Henidosso bar, which is a real life bar over there.
And in the movie, he's actually killed in the real street.
So were the real Lucio Peña dead?
He was actually killed out there, too.
They shot it where he was.
Yeah, I looked into it.
It's the same street, same bar.

(31:57):
Yeah, he was killed right outside of the bar.
And in the movie, they do the same thing.
He's shot outside the bar as well.
And it was pretty brutal.
Gosh, he got blasted in the back of the head,
like execution style.
Yeah.
And then inside the bar, that's when Henidosso's, you know.
He finally meets the beautiful woman, aka death.

(32:18):
He finally meets death, literally,
which is in the form of a beautiful woman in black.
And I will say, though, like when he's with her or whatever,
it's like, I almost felt like he didn't even
realize that what was going to happen.
Like he didn't, like he spent the whole movie
talking about this or feeling in this way that, you know,
he knew a woman was going to be death.

(32:38):
But at that point in time, it's like he was oblivious
to what was in front of him.
Yeah, because he fell in love with this woman.
He looks at her and he's just like, whoa, you know,
she's beautiful.
Yeah, well, the power of love.
Yeah.
Stupid things.
Exactly.
Forget that.
If it was going to roll up on you and blast you.
Yeah.
Yeah, he dies because of the woman and Lucio dies.

(32:59):
I mean, he pretty much had nothing left at that point.
I mean, yeah, that was it.
Zephyrino was the only one that survives.
Yeah, he's only survives.
But then at the end, he's arrested.
And then the cop, he's played by Julian Garza, by the way,
the guy that wrote the song.
So the cop is like.
Oh, the cop is?
Oh, shit, OK.
Yeah, he's one of the cops.
Yeah, Julian Garza starts and then he gets down to the cops.

(33:19):
And then he's just like, you know, you arrest them,
but there's more going to be coming out anyways after.
So it never ends.
The story never ends.
There's always going to be new guys taking their place.
And that explains why there's Pistoleros
almost as two and three, right?
Yeah.
In the long run, they're going to be known as someone.
And yeah, that's how it goes.
It's like you take one spot.

(33:39):
It's going to be another group next.
Never ending the gunmen.
It's kind of exactly what happens now, right?
You take off the leader of a gang or a cartel or organization.
Someone takes their spot.
The next man up and then the next man up.
They go down to me.
Yeah, exactly.
So that's kind of how this movie is.
It's like, yeah, these guys are gone, but a new group's coming.

(33:59):
Yeah.
Yeah.
That's going to happen again anyways.
And it kind of caps off the, I guess,
the whole moral of the story, right?
It's like you can't kill a legend.
You can't kill a myth, right?
You can't kill folklore.
And that's kind of the reason why Corridor was written
to begin with.
You know, you want to keep it.

(34:20):
In the zeitgeist of the community.
Yeah, make them remember who they were.
And in some songs, some Corridors,
it'll be about a good person per se.
They'll say he was a good criminal, generous criminal.
Oh, I mean, you look at it in the sense of Robin Hood, right?
Exactly.
I'm stealing from the rich and giving to the poor.
So everyone loves you.
In this case, it's just about these guys.
They're just fucking badasses.

(34:42):
They were scary, too, but they were badasses, I guess.
And I just think that this movie, it's a five star movie
or a 10 star movie, however you look at it.
Yeah, I don't even like rating movies,
but if I would have rated it, yeah, I would rated it very high.
It's legitimately a classic.

(35:03):
It's a classic.
If you wanted to get into movies like this,
like Mexican crime and action, this would probably
be the one to start off with for sure.
It introduces you to all the actors,
the styles of everything, music wise, story wise,
and decade wise, even, because this
is around the time when those movies were popping back
in the day.
Starting to get super popular.

(35:24):
Yeah, it's already days.
They got kind of started in the late 70s.
Late 70s, yeah.
And by this time, in 1981, it was like, oh.
That's all everybody wanted to think.
Yeah, exactly.
And there's even a clip of Mario Amala talking
about that, about how these actors, or well-trained actors,
they were able to play anything you gave them,
but the people wanted fucking action.

(35:45):
They wanted action.
They wanted balaceras.
They wanted fucking shootouts, car chases, and fucking.
That was the thing.
He really respected this type of cinema.
Whereas today, it's not really respected.
But he really respected.
He would say these were the movies that made the money,
made the producers money.
And people liked them.
This is what people wanted.
This is entertainment.
Yeah, absolutely.
That's what was Mexican cinema.

(36:05):
And it's funny, because one of the movies that he says
is a stain in his career is La Vida Negra, the Black Widow.
Arturo Ripstein, you know, prestigious director.
He's a famous director from Mexico.
And Mario Amala started one of his movies as a priest.
And he's like, yeah, that's probably those, you know,
not a regret role, but he says it's a stain in his career.
Like, it really kind of, you know,

(36:26):
made him not look good, I guess, in other words.
You think it was two art houses for him?
Yeah, probably two art houses are just, you know,
he just didn't feel comfortable doing that, you know?
Because you look at his career after, or before, action,
action, action, Western, Western, drama, drama.
And even before he died, like, I mean,
his last later roles, he played kind of the same character.
He was already really old.
He wasn't the shooter anymore.
He was the hefe.

(36:47):
He was the boss, he had the stuff.
But that's the thing, yeah, he really respected that.
Because, you know, those are cool movies, you know,
those were really about Mexico, culture, you know.
Whether you agree with me or not, that is Mexico, you know.
That's the reality of it.
There's more of two Mexico than just guns, obviously.
But, you know, this is part of it, too.
You know, this is something that we hear about all the time.
I mean, even growing up, you know.
You can't talk about Mexico without talking

(37:09):
about the lifestyle of a criminal.
Of a criminal.
Yeah, kind of like in America, you know,
with the mafia, Italian mafia and so forth.
It's part of history.
It's part of history, exactly.
You know, it's unfortunate that, you know,
Mexico gets such a bad rap with this kind of era of crime
and how outlandish it's gotten compared to, you know,
the 60s and 70s.

(37:30):
These fools are out here with fucking Black Hawk,
Black Hawk helicopters and shit now.
You know, in drone.
Yeah, fucking crazy.
But, you know, like you said, it's a part of Mexico.
Unfortunately, you can't deny it.
And I look at the world, too.
That's the thing.
It's not even just there.
It's everywhere.
But in Mexico.
You can't deny it because I don't like to tell this story.
But I actually did get stopped by it.

(37:51):
Yeah, I remember the image of it.
I think I'm on a tour of private.
Scariest shit that's ever happened in my life.
These fools, they don't fuck around.
Yeah.
And I've had family, you know, killed the same way as well.
Even people from that era, too.
You know, family members that I heard of, you know,
killed in the same way as these guys, for example.
You know, they're just gondol.
Yeah.
And it's unfortunate.

(38:11):
But again, it's part of the fabric of Mexico now,
however unfortunate it is.
Because Mexico is a beautiful country.
The people, the culture.
There's more to Mexico than that.
Yeah.
And it's a beautiful country.
And even then, even when you look besides all the shootings
and so forth, you get beautiful shots of Monterre Nuevo León.
Especially in the opening credits.
Literally, it's just the whole shot of the whole city.

(38:33):
It's like a skyline show.
You get the mountains, and then you get the town and the people.
Even like the rancho that he meets up with Zephyrino,
that's, to me, it was like a classic.
That's like going to visit like a Theo out there.
Yeah, they were like, yeah, you look into it,
and you're just like in another town, another city.
It's cool, you know.
Especially over there, Monterre Nuevo León.
Very cultured over there, and very beautiful over there.

(38:54):
So you get really cool shots of Mexico as well,
especially in those decades.
Yeah.
So that's the thing I like about that movie is that you get a shot
of a different era, different location.
It's not Mexico City like every other movie is.
You're in the country.
Yeah, yeah, yeah.
It's, yeah.
Well, that's a good segue to go into the life of Mario Armada.

(39:17):
Because he really...
He's the face of the movie, for sure.
He's the face of this genre, too, this subgenre of action films,
of current films.
Absolutely.
I mean, he's...
What can you say about him that hasn't been said?
He's like, how can I keep...
What does that Italian actor think, the famous one from action?
I think you're talking about Mauricio Merle.

(39:40):
Yeah, Mauricio Merle.
Yeah, so Italian actor, and came in all those Eurocrime,
Italian crime films.
Which are very similar.
Yeah, so similar in that in Tatone as well.
So when I think of Italian crime, I think of that guy,
Mauricio, I think of Mexican action cinema, crime cinema.
Mario Armada.
That's the face right there, basically.
Kind of define the genre.
Oh, yeah.

(40:00):
Like we said before, he really respected this type of film.
Well, yeah, it's the same thing with the Eurocrime movies, too.
Like, they treated them with respect.
And at a certain point, you've got to give the people what they want to watch.
You can't just force-feed them something that you want to make.
People want to see fucking car chases and shootouts and explosions.

(40:23):
Based on these popular songs that were playing on the radio and so forth.
Well, let's get into it.
Mario Armada, man.
So yeah, he was born in Huata Pamambu, Sonora.
Hopefully I said it right.
And funny enough, he didn't want to be an actor.
That's right.
He said he was into agriculture and went to college.
Yeah, he went to college in Jalisco.

(40:45):
And then that's where he met his wife, too, by the way.
In Guadalajara.
Yeah, the love of his life, like he says.
So it was around the 60s, I believe.
Yeah, him and his brothers, his three brothers,
they were running like a nightclub in Mexico City.
And then after the club got shut down or they closed it, I forgot.
Fernando was like, I'm going to produce a movie.
You know, come with me for Mario.

(41:05):
Mario was like, no, I'm going to just go back home.
He's like, no, come on, just help me produce the movie.
And then sure enough, what was the movie called that they made?
It was 1965.
The movie was called Nilo de Aguilas, which was directed by Vicente Oroná.
Yeah, so that was our first movie, which kind of it was a Western.
It was a Western, so that's kind of how they started.

(41:27):
Yeah, it was Westerns.
And then they did a movie called Ginetes de la Bruja.
Yeah, yeah, yeah.
And Bruno Ray was supposed to play, I forgot what the character's name,
but he got injured.
And Mario, I'm almost stepped in, basically.
He didn't want to take the spot, but they told him, like, hey, you know,
you got like a good persona, you know, be on the camera, you know.
And he's like, OK, I'll try it out.
And yeah, he liked it.
He ended up really liking it.

(41:47):
You know, and then even like people that were behind the scenes were like,
wow, he's really good, you know, he looks great.
Yeah, so that's kind of an interview is the stuff people talk about that.
He had this he had he had the face for one.
And he also had the the voice.
The voice. Yeah, which is when you hear his voice, you know, immediately.
You already know who he is.
Yeah, you see his face, you know, immediately.

(42:08):
He's the guy that appeared on the screen.
The people said, what's up with that man?
He's going to be a great artist.
He's going to be a person that's going to get very far.
The same thing was said by the producers.
Because really Mario has that gift that only God gives.

(42:33):
A face that can be good.
That can be a murderer.
That can be a police officer.
That can be a cure.
And yeah, that's kind of how he started.
And then him and his brother did another great western.
That's a great movie. Have you seen it?
I haven't seen that one.
You need to see it.
It's a great one. Yeah.

(42:53):
And that one, Mario mother is all out.
And you think he's already an actor by them, but this is like, you know,
he's barely starting.
He's like his fourth movie.
But he's right here fucking using a whip and shooting guns.
He's like this tough guy out for revenge with his brother.
He's really good.
And he won a dios de plata, which is like an Academy Award over there for best new actor, I believe.

(43:14):
So even then, see, he was already like starting out really good in his career.
And then from there, yeah, more westerns, action, crime, dramas, the artsy film.
I like that movie, but he doesn't like it.
That's what I noticed in the interview.
He's kind of like, it was a stain in my career.
It's probably because he just wasn't used to playing that.
Yeah, he was just like, yeah, the stain of my career.

(43:36):
So yeah, after that, you know, just everything was just action, action, action, drama, drama, drama.
And up until he died, the very day he died, which was what?
2016, right?
Yeah, he was very, he's already like close to 100, you know, he could have been to 100 and he probably was still been acting.
I mean, even though he was all fragile and old, he was still wanting to start in these movies.

(43:57):
If the people want him, man, you gotta get the people eat.
And it's one thing I've grown at this point in my, my fandom of movies.
I don't want to say Sinophilia.
I don't even know if that's a word, but at this point, it's like, I don't sometimes I don't give a fuck what the subject.
I just want to be entertained, man.
Give me what I want to watch.

(44:18):
And if it's a fucking 96 year old Mario, I'll my movie fucking not give it to me.
You gotta watch the movie.
Classic movie.
And I remember thinking like when I first got into that movie, I was like, maybe it's not going to be that great.
It's probably gonna be all right.
And I watched it.
I was like, oh, yeah, this is great.
This is like the fine.
He even had set it himself.
That's probably why he did his most defining films.
Not only because it started him, you know, his career right there, but it's just like a really good movie.

(44:41):
It's really cool.
So he was very into these action films.
And then probably like around the nineties, he was starting low budget stuff, you know, not so great movies on it.
And that's not that's not his fault.
That doesn't mean his fault.
The fault of the Mexican movie industry.
But even then he was still working in them and he's still doing pretty good, you know.
And of course, when you have his name plastered on a bad movie, people are gonna want to buy it.

(45:02):
They don't want to rent it, whatever, you know.
Yeah.
So yeah.
And then he also comes out in El Infierno, which is from 2010, I believe, or 2010.
Yeah, I think you're right.
Yeah.
Another that's a classic to it.
That's a movie about, you know, people like this, you know, criminals drug traffickers.
And he comes out in that movie as well.
And cameo.
Yeah.
That's a criminal.
I remember watching that before rendezvous event.

(45:24):
We were at the high period on Tavern before anyone got there.
They were like, fuck it's put this shit on.
It was me, shout out to Jaime and Fonz, who were sitting there watching that.
Yeah.
And then immediately went into, I think it was conquest or something.
Oh.
I don't remember what the movie was.
Yeah.
Classic, dude, classic.
And Mario Almada, he's probably, he, no, not probably, he is the most prolific Mexican actor.

(45:51):
Oh, absolutely.
And he has the most credits.
Apparently he goes again as World Record too, apparently.
The most credits of all time.
Yeah, most credits, yeah.
I mean, I could say there's probably other actors, maybe, but he's the one that's known for it.
Yeah.
That's what's so funny though.
Because I remember before back in the day, it was just kind of a running joke.
It's like, oh, he started so many movies.
But it got to the point where the joke became a reality.

(46:12):
It's like, no, it's actually on the Guinness World Records.
He's actually credited.
He, in an interview, he said something around 500 credits, which I don't know if that's true.
For sure, he had at least 300 and something confirmed credits.
The funny thing is, he says 300, but in a vice interview he did.
He's like, yeah, I did like about 300 films.

(46:33):
But the stuff from videos, you know, straight to videos, like a thousand.
So he's only counting like stuff that was shot on film, you know, like 35 and 16.
Yeah, I fucked that, I fucked that director to video shit.
But the straight to video stuff, like a thousand, I don't know.
So yeah, he, yeah, he knew what he was filming.
Yeah.
But the video stuff, of course, he just did them every other day, you know.

(46:55):
He can't, nobody gives track of that except the internet, maybe.
You're going to pay me how many pesos?
Okay, let's do it.
I'll say, I'll say a couple lines in a movie.
Yeah, so yeah, he definitely has a lot of credits to his name.
His brother too, Fernando, by the way, we can't forget a friend.
Oh, no, absolutely not.
Fernando's the same way as well.
He, he's, you know, he's younger than him.
He's a little bit younger, yeah, he's more younger than him, yeah.

(47:15):
You could tell, he, so he doesn't have the same like charisma as Mario, but he has like his own, like, kind of stoic.
Yeah, he has his own persona.
Yeah, he's also very memorable.
I like Fernando too, like both of them are just, to me, they're the same.
Mario's more defining, obviously, but Fernando's still very legendary too.
It's one of those, it's like, what's his name?
Bill Murray and his brother, right?

(47:36):
It's like Bill Murray's, Bill Murray and his brother's like, well, I mean, he's cool.
Yeah.
Yeah, exactly, yeah.
Yeah, but no, so that's the funny thing is that both of them started off, you know, very small in film and then they just expanded.
Mario, especially just because he never wanted to be an actor, Fernando was the one that wanted to be the actor and producer.

(47:57):
Mario was like, I'll just be behind the scenes.
And then somehow, he ended up in front of the camera and there we are, became a legend in his own.
There, that's how legends are born, right?
Exactly, yeah.
Just doing something on a whim.
Mario Almada has been nominated for the Ariel Awards, right?
Multiple times, yeah.

(48:18):
Which is, you know, very prestigious.
And his first movie, first leading role, he won a fucking award.
I mean, there you go.
That's new actor.
Mario Almada, book it.
Greatest actor of Mexican cinema of all time.
And then funny thing is the most famous actor or actor in Mexico is Maria Felix.
People know Maria Felix.
It turns out that's his cousin.
Shit, is it really?
I didn't even know that.
Yeah, that's his cousin.

(48:41):
Not a lot of people know that or they kind of don't remember that, but yeah, that's technically his cousin.
She's like a relative of his dad's or something.
And yeah, he's met her before, like even before they both became famous.
But never really acknowledged each other, never really talked.
It wasn't until he won the first diosa is when she went up to him and was like, oh, you know, congrats cousin or something like that.
He's just like, what?

(49:03):
We're so much more present.
Yeah, it caught him by surprise.
Yeah, so Maria Felix is his cousin technically.
And I thought that was interesting.
I was like, oh, wow, you know, these two really famous popular actors are really good.
That's great.
I would have never thought that.
Mind blown.
Yeah, yeah, yeah.
You blew my mind right now.
Yeah, Maria Felix, the Maria Felix, the one that you see plastered all over the Internet.
Yeah, yeah.
And on those like terrible Tumblr posts from back in the day.

(49:24):
Yeah.
Yeah.
So when I think of Mexican cinema, people think of Maria Felix for sure.
She's cool.
Oh, absolutely.
Beautiful actors, wonderful and talented.
But me, Mario Mada, that's Mexican cinema right there.
Face for me, Mario Mada.
Book it.
You heard it here.
Armando says Mario Mada is the face of Mexico.

(49:45):
Someone's going to be like, no, he's not.
Yeah, he's talking crazy.
Yeah, if you want to argue, just don't.
We don't want to hear it.
Just DM me.
I mean, I'll probably not read your message, but if you want to tell me otherwise, that's fine.
Don't message me because I will ignore it.
Yeah.
But yeah, when I think of Mexican cinema, honestly, Mario Mada.
I mean, when I grew up, you know, growing up as a kid, you know, that's all I ever really saw when I came to Mexican cinema.

(50:09):
Mario Mada, Mario Mada.
I'm sure that when you started your journey into the Mexican movies, I'm sure Mario Mada was kind of like the starting point.
Oh, yeah.
I was probably like five years old or maybe six.
I still remember.
I was really, really little walking into the living room.
My dad's watching La Vanda del Carro.
Very popular movie.
Very popular movie.
I'm sure we'll cover it at some point.
Yeah.
Oh, yeah.
Most iconic films ever.

(50:30):
The first scene I remember was him pulling out a gun from the trunk of the car.
He's like loading eggs.
And I'm like, who's this guy?
I was like, very like, who's this guy with the glasses, sunglasses and and I'm good.
And I were watching the movie.
I was like, oh, it's great.
He's early memories was Mario Mada on the TV.
It's one of those things where, like, you know, growing up, his movies are just on TV all the time.

(50:55):
Yeah, you turn on 22 and guaranteed he's going to pop up at some point to 34 or 52.
Yeah.
And and we kind of touched about it.
Well, you in passing, you said something about it last episode about how he's kind of like the Charles Bronson of Mexico.
Very much like a Charles Bronson.
Very much the Charles Bronson of Mexican cinema.

(51:18):
Probably, I mean, obviously more prolific to Mexican cinema than Charles Bronson was to American cinema.
But very much character wise was was was an equivalent.
Just a absolute badass.
If you like Charles Bronson movies and you haven't seen a Mario Mada movie, you're going to like them.
Yeah, for sure.
Oh, yeah, for sure.
And, you know, Pistolero Famosos is a an accessible movie.

(51:41):
So if you're not familiar with this movie and want to watch it, you can watch it.
It's online.
It's online. It's on the Internet Archive. It's on YouTube.
It's streaming on Picardino Nacional.
It's there.
Yeah, it's really searched for it. It's there.
It's highly highly rated on my end.
Me. I mean, you already know.

(52:02):
Yeah, I love that movie.
Funny enough, for a recording right now, I have the poster with me.
That's how nerdy I am. I brought the poster with me.
I don't know if you can see it, but it's here.
It's here to bring the spirit of this recording.
And with that, I guess we can move on to the second one because Mario Mada is part of the second movie that we're covering here.

(52:27):
And then the other guy, he's also the face of Mexican cinema, at least for me anyway.
He's another face, very big face of Mexican cinema for me.
And it's none other than Valentín Trujillo.
Absolutely classic.
I don't know Valentín Trujillo.
I'm sure you probably have seen him without even knowing you've seen him because you have a logo with.
Yeah, so one of the trashmack logos, yeah, it's his face, literally.

(52:50):
It's probably one of his most iconic drawings, too.
Because it's another, like, they took that art and put it in other stuff, too, over the years.
And it's from a movie called Rata de la Ciudad.
Without nerdy now over that movie.
Let's just say that's one of my favorite movies ever.
With good reason.
Mexican cinema wise.
Fucking banger.
Yeah, so that's a Valentín Trujillo movie.
And yeah, from that art, he's holding a rifle or a gun.

(53:12):
Really cool.
His eyes and everything.
It's drawn really good, because that's how he looks.
Yeah, yeah, yeah.
And yeah, I mean, if you go to my Instagram, you go to anything trashmacks related, you've seen the face.
Yeah, it's...
And if you grew up watching these movies, you know Valentín Trujillo as much as Mario Almada.
He's like the second generation Mario Almada.

(53:33):
Basically, you know, around the same time he was starring in these movies.
He was very young though.
He was probably like in his 20s.
When he started getting bigger.
Yeah, he was very young.
And he moves into action from there.
Well, perfect.
I think that's a good segue on to the next movie that we're going to be discussing here,

(53:55):
which is Un Hombre Violento, which I saw two different release dates on this.
So maybe you know which one is correct.
I saw 1984 and 1986.
So more than likely, I think, in this case, it's going to be 84.
It was filmed.
Also filmed in 84.
And released until...
When you kind of look at the time, especially in the movie, it looks like it was shot more earlier than it's released.

(54:19):
That's kind of how it is with these movies.
They get shot very early, and it takes them like months and sometimes even years to release for whatever reason.
Censorship or production, stuff like that.
Okay, and so this one is directed by none other than Valentín Trujillo.
The directorial debut, by the way.
Yeah, his very first director.

(54:42):
Obviously stars Valentín Trujillo, but it also stars Mario Almada as the protagonist.
Or not the protagonist, the antagonist.
The antagonist, yeah.
Which is rare when you think about it.
Mario Almada, when you think of Mario Almada, he's like the hero of a movie.
So when he's playing a villain, you're like, oh, interesting.
And he played the villain pretty epic.

(55:04):
Oh yeah, we'll get to that, yeah.
Also stars another singer-dancer, Maribel Guardia, who's from Costa Rica.
She's not Mexican, but that's just where she made her fortune in Mexico.
Oh yeah, very popular.
Known for sex comedies, again being a singer-dancer.
Singer-dancer.
There was another couple familiar faces.

(55:26):
I didn't really know their names at the time.
Rafael Inclán, comedic actor, and then his brother, Valentín's brother, Victor, I believe, is a Gilberto.
Gilberto, yeah, his brother Gilberto Trujillo is in it.
And then Gilberto de Ando, as well.
He's also related to Valentín, so like a cousin, I believe, or nephew, something like that.

(55:47):
Cousin, nephew kind of situation.
It's always a family affair with these movies.
Yeah, and then he also wrote the script for Hombre Violento.
So yeah, Gilberto de Ando, Rafael Inclán, Maribel Guardia, and of course Trujillo and Alma are in this.
And so this movie, I enjoyed, this was the first time watched for me when I watched it a couple weeks ago,

(56:09):
but fucking banger, of course.
Oh, that's a great movie.
And it's kind of not the same story, but like most stories of the time, it's about revenge.
This full Valentín Trujillo, his dad basically takes money from him to gamble.
To gamble, yeah, he's a compulsive gambler.
He starts losing all kinds of money to the wrong people.

(56:31):
And yeah, he gets killed.
Money stolen.
Trujillo's character Julián Carrera, he gets revenge, finds the people that shot him, his dad.
And yeah, he goes to jail, he's released.
He just gets himself in trouble after that, he still keeps going, he's still shooting people.
Mainly people that are like, he gets revenge again, I believe, right?

(56:53):
He kills more people that were involved in this.
And then it just grows from there.
He just kind of like snowballs into being...
He's known as a killer, basically.
But just the English title, the making of a killer.
So this is exactly it.
Yeah, he's just killing more people along the way.
People that are messing with him.
And then those people that are related to criminals, which leads to Mario Mada's character,

(57:17):
whose name is Don Emilio.
Don Emilio, yeah, he kills one of his sons, or all of his sons, I believe.
I think he killed two, yeah, two of them.
Yeah, he killed some of his sons and Don Emilio's pissed.
He's like, I want this guy dead, you know?
And then without spoiling it, he hires a very interesting assassin.
Yeah, yeah.
I will say that I was taken by surprise.

(57:38):
I should have seen it coming, but...
But yeah, he hires an assassin that's pretty skillful.
Multiple assassins, because there was a couple people that tried to kill him.
Yeah, just on the run, you know.
And they couldn't get the charge out.
But then there's one, which we're not going to spoil, but yeah, it's interesting.
The twist of the movie is...
Yeah, a really good twist.
And it's just basically about revenge.

(58:03):
But there's a lot of things, like when he's having flashbacks of his mom.
So there's a drama aspect of course, he's having flashbacks of his mom, and his mom turns out to be
someone who was gambled off to some rich person or something like that, you know?
Of course, his dad's the one that...
Yeah, she was like the dad's debt to whoever he lost.
But was she a madame or what?

(58:26):
Because she went to her house and there was a bunch of prostitutes.
Something like that, yeah, they don't really say, but she is something of that sort.
So she's wealthy, she's doing well now for herself, but you know, there's still issues going on with him,
especially him missing his mother, her kind of missing her son, kind of wanting to bury that in the past.
So there's a struggle there. That's the drama aspect.

(58:49):
And then of course, he's taking care of his brother, his younger brother, he's putting him to school.
And then his brother gets killed by a set assassin that we're not going to say.
Yeah, we won't spoil.
Yeah, it's more crazier from there.
There's one thing about this that I think kind of separates itself from being like the typical revenge flick,

(59:10):
like the Epistoleos Famosos type of movie was this kind of had more of a...
I don't want to say a horror vibe, but it just felt more like a thriller to me almost.
Because there's like scenes where, you know, he's killing fools, but then there's like blood splats onto the camera.
Yeah, like the first kill, which was the dad, you know, you don't even see who the killer is, you just see a shadow.
And then you see him pull out the gun and then there's a splatter.

(59:35):
Yeah, there's a lot to like about this one.
He drives a fucking sick ass. I don't know if it's a 56 or a 55 red Chevy.
Oh, yeah.
Oh my God.
Cool cars and that one.
And then funny enough, there's a scene where he wins a car, right? I believe, remember Gilberto de Andres?
Yeah, yeah, yeah, yeah.
The end of having like a racehorse, was it?

(59:57):
Yeah, yeah, yeah.
He has a racehorse, so during the racehorse, he bets on the car, he wins the car.
Gilberto de Andres character's pissed.
He's like, oh, I want, you know, he wants to kill this guy.
Which again leads to another moment for Julián killing someone, making a name for himself.
Yeah, as he should, right?
And then there's even a corrido written about him by some, I think it's the guy that he meets Rafa Nincolán's character.

(01:00:18):
He's the one that writes it.
It is the corrido.
And then he becomes like a hit everywhere.

(01:00:53):
And that's how his name is well known around the region.
That's how he becomes.
Kind of like Pistola de los Famosos, again, corridos.
That's how these people get known, that song that's played about them.
And a sick-ass corrido.
I don't know if that's a legit, I don't know if it was ever released.
I don't know either.
Honestly, I tried looking into it, I couldn't find nothing.
So it might have been just for the movie.
Yeah, I think it was just for the movie, because I couldn't find anything about it.
But it was still kind of, you know, something based on a real thing, kind of, you know.

(01:01:15):
Yeah, he's, he kind of has like this, it's almost like unwilling to become this killer.
It just kind of happens.
It just happens.
He reached his boiling point and it kind of, that was just like the next evolution of who we were.
Yeah, so pretty much the whole movie, it's, you know, he gets his revenge, does his time.

(01:01:37):
And then when he's trying to, you know, just live a life normally, happens again.
You know, he has to defend himself.
Yeah, he's never really killing just for the, for just because he's working, you know, he has to defend himself.
Yeah, he makes bad choices.
He kills the wrong people.
Yeah, that's another thing.
That's kind of why Mario Armada's character is introduced, because he killed his son.

(01:02:00):
Yeah.
Being, thinking that it was the person who killed, was it his, no, he thought it was the guy who killed his brother, right?
Yeah, he did.
Go, seeks revenge and ends up killing the wrong fools.
And Mario Armada's like, fuck this fool, I'm gonna, I'm gonna get this fool back.
My sons, my sons, who is that man?

(01:02:27):
Who is that man?
It's Julian Carrera, the same one who killed his brother Isidro.
But why with me?
If we haven't done anything to him.
Don Emilio, you have to avenge your sons and your brother. That can't be left like that.
I want him dead.

(01:02:49):
Did you hear me?
I want Julian Carrera dead.
Then there's a final showdown with Mario Mothers character.
He's also in a wheelchair, by the way, so he's in a wheelchair, but he's still really like hard as nails.
He's like mean.
And then at the end of the movie, the final fight scene, Julian Carrera was driving that fucking car, that's a car that he went speeding into the compound, shooting the guards down.

(01:03:16):
And then that's when he meets up with Don Emilio and yeah, they have their final, you know, moment right there.
It's fucking awesome.
Yeah, I was, you know, throughout the whole movie, I'm thinking, why the fuck is this for Mario Mothers?
I'm expecting him to be like this whole, like this whole persona.
Yeah, like this whole, like the give and take between the two.
It's full, Armada doesn't show up until 45 minutes.

(01:03:38):
Yeah, pretty much.
And the movie is only what an hour, 20 minutes or something like that.
Yeah, it's pretty sure.
Yeah, he's not in there for a very long time, but he's impactful.
Like you said, he's in a wheelchair.
It looks fucking sick.
You've never seen a guy in a wheelchair shooting.
I don't even know what kind of gun he was shooting, but full of fucking.
Yeah, he had like custom to like a little thing to hold onto.
Yeah, yeah, yeah, right.

(01:03:59):
He's just like shooting at Julian's car.
Yeah, it's awesome.
I love his character.
So that was a different role for Mario too.
Like he's always played the lawman, you know, the, the Avenger, whatever.
Here he's actually the villain.
Yeah, yeah.
The antagonist.
For American slasher fans, there's a part in this movie that I guess is like a, well, this movie came out in later.

(01:04:27):
So I guess it's, I guess you could say technically would be a ripoff even though I don't know if they did intentionally, but for Friday the 13th fans, there's a, there's a sequence in this movie that you'll, you'll fucking love if you like Friday the 13th original.
And it was almost like I was watching it like, oh man, it's like a literal shot for shot.
A stolen scene.
Yeah.
Which also, you know, kind of added a little bit to the movie, I think it's a.

(01:04:52):
It's different for sure.
And I think so this is Trujillo's first credit as a director.
Because before that he was just acting a little bit of producing because he was really young.
Yeah.
When he first started his prime like in his 20 maybe even his 18s.
I can't recall exactly, but he was very young when he first started.
He would have been.

(01:05:14):
Well, when he first started, yeah, he was, he was, he was a child.
He was from what I saw was that his first credit was in 58, which would have made him seven years old.
Yeah, he was like a little kid.
But then it wasn't until like the 70s where he became very famous, very popular.
Yeah.
And dramas and then some dramas with action in it.
And then once you get to the 80s, that's when he's like, yeah, an action star basically.

(01:05:38):
Yeah.
And it all began with this movie, who in the name of the Atlanta, which is pretty sick.
It's available on YouTube, which is where I saw very, very good quality.
It's out there.
Yeah.
No subtitle.
So it's not English friendly for those who don't speak.
It's an English dub, which is called the making of a killer.
I've seen it.
It's kind of weird.
It's probably black.
The dub means pretty weird.

(01:05:59):
Yeah.
It's a little weird.
That was the copy that I watched for this review, just cause, you know, I had it there.
I was like, let me put this on.
And I just like, yeah, it's kind of weird.
They got the dialogue right at least.
Oh, I mean, that's always a plus.
Yeah.
That's kind of what the thing too is later on in his career to heal.
He was licensing these movies, his movies that he produced and directed from his own company.
And yeah, they were releasing them in English, dubs, Spanish.

(01:06:23):
Were these released on DVD?
Yeah.
There's around.
English, English, not an English friendly DVDs.
No, it was only VHS.
This was like in the 80s and then like 90s.
So you'll see movies.
You'll see like this one from Korea on VHS.
Oh, shit.
Obviously in the United States, it's in English, Europe, I believe, like Russia or Germany.
I forgot.
I think Germany.

(01:06:44):
Yeah.
So he was licensing these movies around the world.
I mean, whoever's paying the money, right?
So yeah.
So I'm sure people have seen it at some point.
You know, if you're listening, you might have seen a VHS like through the foreign market
or whatever.
So yeah, so they were there.
So now today it's, you know, just YouTube and DVDs, but those DVDs sell for a lot.
I look online, like on eBay, people do buy them still.

(01:07:08):
That's the crazy part.
I'll look at the sold listings.
I think the last one was like $100.
It was just some cheap DVD too.
It was like a Walmart $5 DVD.
No, no, no, no.
It's probably a DVD.
It's not even a real DVD.
Yeah, I know.
You never know, right?
Yeah.
So it's just funny though, because these movies do sell, though, because obviously he's still
very popular.
You know, these movies are great.
Wal-Mart.
Yeah, you think of who's going to fucking Wal-Mart or big lot to grocery shop.

(01:07:31):
It's, you know, it's our fucking theas and abuelas and shit.
So they're like, oh, fuck it.
Valentino.
That was the market back in the day.
Yeah.
I find it interesting that this fool, you know, well, he didn't really live a long life.
He died fairly young, right?
Yeah, he was like 54, I believe, something like that.
Yeah, he was very young.
He didn't really live a long life like Mario did.

(01:07:53):
But even then, you know, he still worked a lot, you know, throughout his whole life and
career, movie after movie after movie, same thing.
All these movies shot on film and then he did videos just like Almada.
And what would you say, like, how would you compare this fool to Mario Almada as far as
legacy?
Well, they're different, obviously from age range and decade wise, you know, but they both

(01:08:18):
did start primarily, like near the, you know, late sixties, early seventies.
And yeah, I mean, they're different, you know, I think Valentino, if anything, has more of
a drama aspect to him.
Like he's been more into dramas than Almada has.
I would consider him more of a dramatic actor, if anything, next to an action star, of course.
So that's the thing about it.

(01:08:40):
So Almada's more of the face of action, whereas Valentino is more of like drama and action.
Yeah.
Even in his action films, he throws so much drama in there.
And well, he was nominated too for the Adios Awards.
And of course he was nominated for awards.
Oh yeah, a lot of awards too.
He won a lot of awards, recognized, brought his whole career.
Especially when he first started, when he first started, very popular actor.

(01:09:04):
Yeah.
So what do you think?
You think Almada and Trujillo are like the two cornerstones of what Trashmax tries to represent?
The faces.
I mean, the podcast face, Almada, you see him there.
Yeah.
Fernando next to him, his brother, by the way.
And then, yeah, Trashmax in general began because of Trujillo.
Rata de la Ciudad, that was the movie that started it for me, you know.

(01:09:26):
I remember that movie when I was 20 years old.
I'm 34.
It's been there since.
Damn.
You know, I saw that movie when I was seven.
And it only led to more curiosity of what else did Valentín do.
And I believe this is probably like the third movie I caught on two after.
Because I only saw this movie until way later on in my life.
And I was like, yeah, this guy's awesome.

(01:09:47):
You know, I'm going to get Trujillo, one hombre violento, and then seeing more of his movies after.
Crazy.
Yeah, this one was new to me.
I almost feel like I remember seeing like images or maybe something in the back of my mind of seeing Mario
Automata on the wheelchair.
The poster, yeah, and then there's the poster too.
The poster is pretty iconic, you know, after Trujillo holding the two guns with his band-aids on his chest.

(01:10:10):
So it's pretty memorable to even the poster.
And then Mario Automata next to him right there with the wheelchair.
Yeah, yeah.
It's pretty awesome.
And this one was kind of interesting too, because when I was watching it, there's a specific scene.
I was trying to figure out where the fuck did they shoot this?
And then there's a specific scene where this fool is pulling into, I don't know if it was a bus station or a train station.
You can see like the signs that says, you know, Coahuila Strait.

(01:10:33):
I don't know if it was, if it said like Masatlan or Culiacan to the left and Zacatecas to the right.
Oh, yeah.
And then I was like, oh, you know what, it's fucking Durango.
Yeah, it's Durango.
Yeah, they shot it in Durango.
Yeah, that was another like area of Mexico.
They shot movies and especially if it's like, you know, roads and stuff like that.
Yeah, there's a lot of open roads over there.
Oh, yeah, so yeah, Durango.
Yeah, that's well.

(01:10:54):
Yeah.
And then the movie ends pretty funny, like kind of just to bring up something really quick.
It ends pretty like cheesy and typical Trujillo style drama.
And then you're kind of like, well, what's going to happen next?
But there's a sequel.
People don't really know, but there is actually a sequel to this movie.
And probably not as good as this one I'd imagine.
It's cool.

(01:11:15):
It's funny thing is that it feels like a different kind of movie, but it's the same character Julián Carrero.
So there's a movie called Polesía de Narcóticas, which I believe came out around the same time as this one,
probably maybe a year after or two.
They probably even shot it around the same time.
I'm assuming I really couldn't find any info when this was filmed exactly.
But yeah, so it's called Polesía de Narcóticas.
We see the poster has Valentín, you know, typical cop.

(01:11:38):
There's like a, I think it's like a trans-amor or something.
I don't remember.
And then you watch the movie, you're like, this is the same Julián Carrero from hombre violento.
Now he's a cop all of a sudden.
And then there's, it has those little flashbacks too, you know, those corny little flashbacks.
So they do the corny flashback of the first movie.
That's how they tie it together.
They tie it together.
And then yeah, he's called Julián Carrero, of course, you know, same guy.

(01:12:00):
But it's just a different setting.
I forgot where it's set now.
It's like a city, I believe, too.
And he's a cop.
There's like a, somebody killing like Laman, you know, like around him, like people that he works with,
you don't know who the killer is.
And you're like, okay, what's going on?
So yeah, it's just funny.
Like I didn't realize it was a sequel until I watched it.
And I was like, whoa, I gotta find a sequel.

(01:12:21):
Now there's a sequel.
Yeah.
So yeah, it's cool though, but it's cool on its own.
I wouldn't really like to tie it with that one with hombre violento, but they're connected technically.
Yeah.
So yeah, so there's a sequel.
So if you're craving for more after you see this one, check out Policía de Nargóticos.
I know I am for sure because comparing the two, they're super similar.

(01:12:43):
You know, it's like the main lead is trying to seek revenge.
They both kind of fall into the, like the violence lands in their lab.
Like they weren't seeking.
They weren't seeking.
Yeah, it just comes to them.
Yeah.
And then they end up having to live that life.
Yeah, like accidental gunsling.
Yes.
But I do think that Pistoleros famosos is probably the better movie, I would say.

(01:13:08):
It would be the better movie.
It's not to say hombre violento.
It's bad.
It's not bad at all.
Yeah.
And I know we kind of didn't go into as much detail with this movie as we did the Pistoleros
famosos, but it's kind of on purpose because they're like we said that twist in the movie,
if we give that away, it kind of ruins the whole like the only thing I'm going to say
is you're going to be in for a really good surprise.

(01:13:30):
Yeah.
Oh yeah.
And then when the brothers killed, it's crazy.
Yeah.
I mean, that's kind of when she like shit hits the fan right there.
It hits really bad.
Both accessible.
If you don't speak Spanish, post out your Duolingo or something and watch it because
Hey, if you find the English copy of hombre violento, maybe you could tell you.
Or maybe, I don't know, maybe there's an SRT file online somewhere that's somewhere.
I just didn't even look for one.

(01:13:52):
Yeah, I don't know, maybe.
But yeah, so seek both of these movies out.
They're fucking fantastic.
Both Mario Almada and Valentin Trujillo are classics.
Classic Mexican action stars, dramatic actors.
They're great actors.
Legendary.
People need to praise them or like, especially, you know, the film, you know, the film scene

(01:14:15):
over there, you know, you look at the film scene in Mexico, they're only praising, you
know, again, Mario Felix, people like that, you know, but it's like, oh, when I think
of Mexican cinema, I think of Mario Mala, I think of Valentin Trujillo.
That's kind of what I told my parents one time was like, when I think of Mexican cinema,
I think of them.
They're like, yeah, us too.
I mean, that's what we saw on TV all the time or when we go to the theater, that's what

(01:14:38):
was playing.
And those are cool movies.
Those are the ones that we remember.
We don't remember Mario Felix.
We don't remember Ripstein or whatever his name is.
They don't even know Ripstein.
They did a Doodle Ripstein retrospect at the American Cinematheque.
Yeah, that's cool.
Don't get me wrong.
Oh, that was great.
I went to quite a few of the shows.
They weren't packed by any means, but great movies for sure.

(01:15:01):
Just a complete different style.
Different style, yeah.
But these movies are good too.
They deserve some kind of retrospect as well, which is something that I kind of did last
year with Mike Aguirre with the Freedom Cinema at the Festival of the Trashman.
So that's kind of what I wanted when I did that.
I was like, well, I kind of want to throw a mother in there.
I had to throw in a mother.
That fucking movie was...
Yeah, we showed El Fiscal de Héro, which is a movie that we're never going to have to

(01:15:24):
dig into one of these days.
Yeah, we'll do an episode on that.
There's multiple of those ones too, so maybe we can do a whole episode.
Oh, we'll do a whole series.
But yeah, I wanted to show a movie, and I was like, well, I'm going to show El Fiscal de Héro.
And yeah, people that saw it, they liked it.
And these are like non-Spanish speakers, keep in mind that people told me that, like, I
actually really liked that.
That was cool.
And that's kind of the thing.
I think part of the issue is that no one is really re-releasing these movies.

(01:15:49):
No one is restoring them.
So there's no real access to it, especially if you don't have a VCR and don't speak Spanish.
Vinegar Syndrome, I know we talked about in the last episode, they're kind of delving
into the Mexican world, and hopefully they start releasing a whole lot more, and not
just the horror stuff, but go into these kind of action, not Bocorrillo movies.

(01:16:11):
And hopefully these episodes kind of steer people into hopefully digging for these movies
and enjoying them, because like you said, there's a lot to enjoy.
They're not just shootout movies.
There's a lot to be said.
Especially if you're just an action film buff, like there's people that like dwell into action
films, they want to see movies from around the world.

(01:16:32):
There's this guy from China, this young guy, he would hit me up, he's like, oh, I really
like these El Maldon movies.
And it's like, you know, I just call him by surprise, because you know, it's like, oh.
I mean, yeah, Hong Kong has some of the greatest action movies.
Yeah, but he also wants to see, you know, films from other countries, and he got interested
in Mexican cinema, and he likes El Maldon movies.
So I was like, yeah, you know, check these out.
And I told him about these to let us have muscles.

(01:16:54):
He saw it.
I never heard back from him about that one.
But if he did, I'd imagine he liked it.
Yeah.
And you know, if you're into Eurocrime, for example, Eurocrime is a big thing.
You know, people love Eurocrime.
So if you're into Eurocrime, you're going to like, you know, this stuff too.
Yeah, I think the Eurocrime stuff is more adjacent to these movies than like the Hong

(01:17:15):
Kong action cinema.
So yeah, I mean, if you're into those, then you would, you would, you're going to really
appreciate these, you're going to get into these big time.
Oh, absolutely.
And, you know, as far as this episode goes, you know, we're kind of winding down here,
but just wanted to remind you guys that, you know, we will have a Spotify playlist with

(01:17:38):
a bunch of Corriol songs on there that, you know, were selected by this Juan Armando and
myself.
That's going to be linked into the show notes.
So hopefully you guys will dove into that and kind of put these together with the movies
and kind of start seeking more out.
It's not an extensive list at all.
It's only 20 songs, 10 songs each.
Kind of just to kind of give you an idea of what, you know, what Corritos are and then

(01:18:01):
what kind of these movies are based off of.
Yeah, exactly.
Which is again, Lamin or criminals.
And one song I told you, it's a racehorse.
But this racehorse, I'm going to nerd off a little bit.
This racehorse was Toro Perrietto.
That's what he's called Toro Perrietto, which means the dark bull.
The dark bull.
Yeah.
This was actually owned by a big time criminal from Matamoros Tamolipas.

(01:18:25):
His name was Juan Nguerra.
He was the founder of the golf cartel.
And this is like a guy that goes back way into the forties or the thirties, you know,
when, you know, they were smuggling alcohol and drugs and stuff like that, you know, just
stolen goods.
And yeah, they made a song about his horse because he really loved that horse, you know,
and it's a good Corrito.
I mean, I like it.
I don't know if you heard it, Joey.

(01:18:46):
Yeah.
It's cool because it's just about the horse, you know, but they mentioned Juan.
And there I was like, Oh, this is his song.
This is his song.
This is his horse.
It's probably the safe way of making a Corrito.
You know, because those are getting blasted for making Corrito.
So you know, we're doing about the horse.
Not about the horse.
Not about Juan, but Juan loved that horse so much.
Yeah.
He loved that horse.
So obviously they're going to have to write a song about the horse.

(01:19:07):
Because that horse won him fortunes, you know, in races.
There's a picture of him.
I remember when he had a restaurant, it was called the others.
I believe in Matamoros.
You'd go in there and you just see pictures of the horse.
The table was carved of the horse.
Like he was very obsessed with that horse.
That horse was his gold, you know, his baby.
I mean, name a ranchero that doesn't love their horse.

(01:19:28):
Yeah.
So that's another example of a Corrito.
Corrito is not always going to be about a criminal, a lawman or whatever.
It's going to be about a horse.
Yeah.
About an animal that they really respect or just anything really.
Wow.
You know, just a...
Or even cars, you know, you know, you got cars, you know, songs about trucks and stuff.
Yeah.
I put one on the mix.

(01:19:49):
There's one about the state that my family is from in Mexico.
It's called El Sacatecas.
So, I mean, it has nothing to do with narcos, not about a specific person,
but just about the city itself.
Exactly.
That's another thing about these songs.
They're not even just...
Aside from all that, they're singing about, you know, where it's from, you know.

(01:20:10):
Yeah.
Like the ones that I picked, it's all Matamoros Tamalipas based.
I'm not from there.
I'm not from there, but I wanted to kind of theme it out for myself.
Oh, absolutely.
Because it ties in with the horse, you know.
Yeah.
And I knew you were going to choose that style of corrido, like that was more...
I don't know, Daniel.
And accordions, yeah.
That's why I went in the Fonga version.
People went on the accordion, but no, Mexican music makes cool music with accordions.

(01:20:31):
Oh, yeah.
Other songs with accordions now.
I mean, you got to do it right, you know.
Yeah.
The next thing is somehow made the accordion cool.
When you start talking about drug dealers and gunslingers and you had the accordion...
Yeah, we got to make it catchy and fun.
So that's what these songs are about.
And there's one called El Centenario.
That fucking banger.

(01:20:53):
Banger song about a real guy.
His name was...
I forgot his name.
Something quintero, but...
Yeah, he's a well-known drug trafficker from the 90s.
He was Santa Ana based.
He would come back between Tijuana and so forth.
So the song's about him, you know.
But it's also about his struggle, too.
So that's the thing about these songs.
It's not even about praising the lifestyle that they're living.
It's also talking about the struggles of the lifestyle as well, you know.

(01:21:17):
It's the rise of the person, not necessarily the rise of the career owner.
So you're going to hear about the downfalls of them, too.
Because it's not always going to end good for them, you know.
They're not going to live on forever like this.
They're going to eventually fall down.
They're going to end up killed or in jail.
I mean, most of those guys don't live past a certain age.
It's like the Centenario, you know, this guy.

(01:21:40):
He didn't live long, unfortunately.
But the song has been around for a long time already, you know.
And we all still remember who he was because of the song.
These songs are memories of these people, the country, and the time, of course.
You know, time capsule.
Yeah, yeah, yeah.
That's kind of like the everlasting part of these songs.

(01:22:05):
That it's really of the time of the era and what's going on.
It doesn't even have to be specific, but you know.
Yeah, there's a lot of nostalgia.
These are songs I grew up listening to.
I'm sure anyone who's a Mexican grew up listening to these songs.
Watching these movies probably as well.

(01:22:27):
And it all ties in together.
Because again, these movies are based on corridos or about corridos.
They've got to make the movie.
And so hopefully that all kind of ties into the rest of the episode.
And if you guys are still listening and got to this point.
One more thing.
Oh yeah, yeah.
So yeah, if you're more interested about corridos, I have a book recommendation.

(01:22:49):
It's called Narco Corrido, a journey into the music of drugs, guns, and guerrillas.
It was written by a music historian, Elijah Wald.
Really awesome book.
He talks about people that wrote these songs and so forth.
He went all around Mexico meeting all these writers and composers of these songs.
Musicians.
It's really awesome.

(01:23:10):
Of course there's mention of Pisa Lerosa-Mosos in there with Julián Garza, the composer.
So yeah, so if you're at a library or bookstore and look for this book.
I understand that.
Elijah Wald.
It's awesome.
And with that, I guess we'll just say we'll end it here.
And what's going to be next?
You know, we've been talking about what episode three is going to be.

(01:23:33):
We have quite a few different topics that we're going to touch.
So, haven't solidified it yet, but it could possibly be a lucha episode.
It could be a horror episode.
It could be another kind of famous actor that chose to spend a lot of his time in Mexico
after a successful career in Europe.

(01:23:56):
Yeah, we just don't, we don't know yet.
Keep your eyes peeled.
We'll pick something.
Obviously this is going to be a good one that you're listening to now.
Next one's going to be good as well.
It's only going to get better.
You're going to get into a lot of Mexican cinema that a lot of people never heard of.
Or maybe have barely heard of.
And yeah, hopefully it's peaking all of your interest.

(01:24:19):
The first episode was great.
People were like, wow, I didn't even know there was Mexican porn.
Yeah, that's...
That opened a lot of eyes.
And I hope this opens eyes with Mexican action and crime.
Yeah, and I guess the difference with these and the pornos is that these ones are accessible.
Oh yeah, much better.
Stop asking me for the porno.
Oh yeah, on Letterbox.
You already know I'm not going to message you.

(01:24:41):
I'm not going to open the message.
No, no, it's not going to happen.
But anyway, yeah, you know.
So hopefully this gets you all into getting into these action crime films, looking into
Mexican music, corridos, and you know, have a broader mind of Mexican culture in general,
you know, not just what you see or hear.
It's like, no, like there's more to what you already see and see or hear.

(01:25:03):
Yeah, and that's kind of once again the main focus of what the podcast is trying to do anyways.
We're trying to spread the gospel, man.
Spread the gospel.
Mario Mata, the face of Mexican cinema.
Someone's going to get mad when I say that.
They're going to be like...
Yeah, it's not him.
It's not him.
It's like, to me, it is.
Just because, you know, I grew up watching him, you know, through heel thing.

(01:25:25):
It is.
And the face.
You can debate it, but your debate is wrong.
Again, my messages are open.
As always, hit us up on Trashmax podcast at gmail.com, or you can find us online on Instagram
as Trashmax or I go by Chitta Brown.

(01:25:46):
Trashmax.com.
I'll be posting more reviews on there.
I've been logging in there lately, but I got like three reviews coming.
So if you're interested in reading some stuff, go ahead and go there.
Scour the website too.
You guys can ask for certain episodes to be made.
If you guys read something on the Trashmax website and you want a full episode breakdown,
ask for it.

(01:26:07):
We'll put it in the teleline.
We had a couple guests lined up too to join us and talk about more movies and stuff.
We have guests ideas already in mind.
So if you're trying to invite yourself, yeah, probably not.
But we're open to hearing you out anyway.
So, you know, but yeah, you know, we got some good stuff coming guys.

(01:26:28):
Thanks again for listening and also a big shout out to the Fold Line poster company.
That's right.
The Fold Line poster.
Yep.
We're right here in Long Beach recording our episode.
Shout out to Hope.
And she also has a promotion for y'all.
Give it a listen.
Yeah.
We're offering a good promo.
So stay and listen to the promo after this and you will get the discount code.

(01:26:50):
You got to listen to get the discount code.
You can't, you know, you don't get it for nothing.
Yeah.
And with that, we're moving on.
We're moving on.
This is an episode three, guys.

(01:27:27):
We're moving on.
We're moving on.

(01:28:00):
We're moving on.
We're moving on.
This episode of Trash Max is brought to you by the Fold Line poster company.
The Fold Line poster company is dedicated to the restoration and conservation of vintage posters, prints, and various collectible works on paper.

(01:28:23):
From lobby cards and one sheets to Italian folios and French grons, the Fold Line is your number one source for preservation in Southern California.
Visit us in Long Beach today or request a quote at FoldLines.com.
And make sure to mention the Trash Max podcast for 10% off your next lit and bucking service.

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