La Negra Tomasa (1993)

A Mexican flick inspired by the song “La Negra Tomasa,” (1937) by the Cuban composer Guillermo Rodríguez Fiffe, featuring Alfonso Zayas and Yirah Aparicio as the titular negrita.

 Alfonso Zayas plays Roberto, the neighborhood ladies' man.

 The woman's husband is at the door, so they frantically skedaddle. 

Full frontal nudity from whoever this actress is.

Yirah Aparicio plays the titular Tomasa.  Aparicio isn't really a mulatto (as described in the song); if you've seen her in other films, she's white.  They did a good job of making her look half black (a combination of tanning and makeup?).  César Bono plays her perpetually jealous husband, a cop.

He must pull his gun out twenty times in this movie; actually pretty funny how he reacts to even the slightest suspicion of infidelity.  Even funnier that she, in reality, is having sex with every guy on the block.

 You gotta have Tun-Tun (José René Ruiz).  Tun-Tun plays a doctor.

 Roberto Ballesteros plays a violent loan shark with a bad punk wig.

He gets attention from Tomasa as well.

 Roberto is desperate to get with Michelle Mayer.

 He provides dancing lessons.

I love this scene.  The loan shark fires a shot at a car and it fucking explodes.

Michelle Mayer is back for another round of dance lessons.

 Roberto somehow manages to convince her to get out of her clothes.

 Tun-Tun, overheated looking at Michelle from afar, finagles his way in.

 He acts as though he detects a serious medical condition.

 Roberto, in on the ruse, carries Michelle all the way to her home.

 The loan shark is still up to no good.

 Roberto has sex with Tomasa.

Bono suspects he's been banging his wife.

Gun blazing, he suspects the grocer of the same.

 Zayas' real life son, Alfonso Zayas Jr., makes an appearance wearing a Metallica shirt.

 Now he's using a fucking crossbow!

He punches out Tomasa.

 With Tomasa knocked out, he strips her clothes off.

 Then he rapes her, still unconscious.

 When Tomasa awakens, she's chained up.

 She's carried to the bathroom and chained up again.

 Roberto and Bona arrive in the nick of time.

 The bad guy is killed.

Tun-Tun and Michelle witness the incident.

 These films always end with a wedding party.  Roberto and Michelle get married.

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Pretty standard fare for a Zayas flick.  The way these Mexican films pivot back and forth between slapstick comedy and intense rape might be jarring to American viewers who aren't used to this weird juxtaposition in film. Roberto Ballesteros' punk wig might also be jarring. 

Double Feature: It might be nice to pair with another Mexican film which is based on an old song - Pedro Navaja (1984). 

★★★★★☆☆☆☆☆