09 · 18 · 25

Archibaldo Burns, EL REVENTÓN and the unknown Jesús Camacho Morelos

Rafael Aviña

In Mexican cinema, especially in the 1970s, there are many overlooked and unexplored films and novels, such as El reventón (1975) by the highly talented but underrated Archibaldo Burns—his first industrial film. The film was inspired by the equally appealing and little-known novel Cuando los perros viajan a Cuernavaca, described as “a novel that aims towards the sexual route.” This novel was written by Jesús Camacho Morelos in 1967. Its three-color cover—red, yellow, and gray—featured the beautiful Chica Musical [Music Girl] from 89.7 FM, the youth radio station of that time.

Camacho Morelos, narrator, poet, journalist, illustrator, and visual artist, was born in Mexico City on February 18, 1943. He contributed as a columnist to national newspapers such as El Heraldo de México, Excélsior, and Novedades. His published works include: the short story Champiñones alucinantes (1969), the fictionalized chronicle Pandemónium, D. F., Crónica del pecado en el Distrito Federal (1965), the novels La bicicleta embarazada (1977), La loción del cariño de papá (1988), El perfume del cariño de mamá (1992), and Si te lleva el diablo, que te lleve en Cadillac (1995); and the poetry collections El paraíso de los cuerpos; poemas (1973) and Yo te amo, Liza Minelli (1975). Most of these works were published by the exceptional Editorial Diana, which is now defunct. He also published Se gratificará espléndidamente (1982).

On the back cover of the fifth reprint in 1971 of his most widely read novel, Cuando los perros viajan a Cuernavaca, we read: "This is the mind-boggling title of a novel that recounts the amusing and tragic adventures of a naive gigolo who falls victim to his own sexual liberality. The writer skillfully explores the transcendence of premarital relationships in relation to a critically important facet for Latin American cultures: virginity."

The curious film adaptation of Cuando los perros viajan a Cuernavaca has almost nothing to do with Camacho Morelos’ plot, yet it captures the essence of the book, which director and screenwriter Archibaldo Burns infuses with a curious twist related to crime and kidnapping. These were the years of youthful debauchery, flirting, and partying; young people headed to Cuernavaca to satisfy their uncontrollable exuberance, which is exactly what happens to Diego Ulloa, "El Gato," a sort of anxious gigolo who is brought to the screen as the spoiled junior (Juan David Burns, the director's son), the only offspring of a millionaire businessman and his indulgent wife (Ignacio Retes and Lucila Balzaretti, a couple in real life).

Fed up with his good-for-nothing son, who has also lost a large sum of money gambling, the father kicks him out of the mansion where they live in Lomas de Chapultepec. However, El Gato continues his debauched lifestyle (having affairs with two young women) and decides to accompany his mature married lover, Adriana (Ana Luisa Peluffo), to the famous Hotel Casino de la Selva in Cuernavaca. El Gato returns briefly to the city to visit his girlfriend, Laura (Lucifer de los Santos), who rejects him despite their previous intimacy. Back in Cuernavaca, he confronts several young men (including Fernando Balzaretti) who have been harassing and pursuing Adriana at the hotel. He finds them in her room, where they have undressed her and are attempting to rape her. Later, El Gato plans to kidnap his own father to obtain three million pesos, along with some friends who pose as a guerrilla group. The ransom is paid, and the father is released, but the police arrest El Gato and his friends.

Burns transforms the novel's theme of "debauchery" and youthful love into an exploration of senseless violence, corruption, youthful disillusionment, and the era's inclination toward crime in a society hurtling toward consumerism and egotism—themes that resonate with today's society. This is further enhanced by a soundtrack composed by Argentinian saxophonist Leandro "Gato" Barbieri and intriguing scenes, such as an orgiastic party where El Gato, wearing a "cat" mask, shoots his own image in the mirror. The scene includes nudity and homoerotic content. El reventón faced censorship and did not premiere until 1977.

Translated by Abigail Puebla