Pascual Garcia Pena Movies

In this Spanish drama, a lifelong friendship falls apart when the buddies fall in love with the same girl. ~ Sandra Brennan, Rovi

La Calavera Negra concerns a bunch of small Mexican town who must contend with a mysterious, disruptive figure known as the Black Skull. Many different people attempt to uncover the truth behind this frightening phenomenon. ~ Perry Seibert, Rovi

Filmed on location, Treasure of Pancho Villa stars Rory Calhoun as a mercenary at large during Mexico's civil war. Though he'll sell his services to the highest bidder, Calhoun is eventually won over to Pancho Villa's cause by patriot Gilbert Roland and former aristocrat Shelley Winters. Before this happens, however, our hero (who doesn't behave like one) wheels and deals to get his hands on a cache of gold. Without giving away the ending, it can be noted that the film borrows liberally from Treasure of Sierra Madre. While the dialogue passages in Treasure of Pancho Villa can be tiresome, the film is saved by its literally explosive action highlights. ~ Hal Erickson, Rovi

Unlike many westerns, City of Bad Men is placed within a specific historical time frame. The scene is Carson City, Nevada, in the year 1897. As the city prepares itself for the much-ballyhooed prizefight between Gentleman Jim Corbett and Bob Fitzsimmons, soldier-of-fortune Brett Stanton (Dale Robertson) rides into town with a few of his cronies. Stanton takes into consideration the enormous gate proceeds that the prizefight will yield and immediately begins formulating plans to steal the loot. He is deflected from this by his former girlfriend Linda Culligan (Jeanne Crain), whose good example sets Stanton on the right path. Corbett and Fitzsimmons are played, respectively, by ace stunt men John Day and Gil Perkins. Actual film footage exists of their legendary bout, and this brief ribbon of celluloid might make an interesting companion feature to City of Bad Men. ~ Hal Erickson, Rovi

While Shelley Winters is top-billed, Ricardo Montalban is the real star of My Man and I. Montalban plays Mexican transient farmer Chu-Chu Ramirez, determined to make something of himself and improve his lot in life. He falls in love with disillusioned alcoholic Nancy (Winters), intending to help her overcome her illness. Meanwhile, Ramirez' nasty boss Ansel Ames (Wendell Corey) is shot in an accident. Jealous over the fact that his wife (Claire Trevor) has designs on Ramirez, Ames accuses the Mexican of attempted murder. The manner in which Ames and his wife are forced to tell the truth is one of the oddest (and most compelling) sequences in all of William Wellman's work. ~ Hal Erickson, Rovi

This breezy and unpretentious film noir from director Don Siegel starts off with fireworks. Duke Holliday (Robert Mitchum), an American army lieutenant, is on his way to Mexico by boat when he's confronted in his cabin by Blake (William Bendix), gun in hand, who plans on taking him back to the United States. Holliday gets away, pummeling Blake pretty hard in the bargain and stealing his identification, and crosses paths with Joan Graham (Jane Greer). It turns out that she's looking for the same man he is, a smooth-talking hood and grifter named Fiske (Patric Knowles), who took Holliday at gunpoint for 300,000 dollars in army payroll money and Graham for 2,000 dollars, in addition to her hand in marriage. They spend a lot of their time sizing each other up, not knowing how much to believe about the other while trying to catch up with Fiske, while Blake -- an army captain who's after Holliday for his alleged part in the robbery -- stumbles along a step or two behind them. These four end up playing cat-and-mouse across Veracruz, with Fiske always a half-step ahead, while police Inspector General Ortega (Ramon Novarro) calmly keeps tabs on all of them, trying to figure out (along with the rest of us) exactly who is on the level (in those days, especially after Out of the Past, there was no built-in assurance for audiences that Mitchum and Greer played characters with clean hands, and Mitchum is almost too good with the rough stuff here to be an obvious hero). Holliday and Graham engage in some surprisingly playful and suggestive banter during their travels, in between her keeping Holliday -- whose command of Spanish is less than minimal -- from adding too many new permutations to the phrase "the ugly American" in his dealings with the Mexicans. The mood is decidedly brisk and light-hearted at times, given the gunplay and violence that explodes at key intervals. The addition of John Qualen -- in one of the strangest roles of his career -- as a decidedly fidgety and neurotic presence in the last quarter of the story only adds to the undertone of quirkiness in this superb film noir. ~ Bruce Eder, Rovi