A chromatic high witch is a powerful practitioner of magic who possesses the ability to manipulate and control various colors. Unlike traditional witches who typically focus on the use of potions, spells, and rituals, a chromatic high witch utilizes the power of colors to channel and manifest their magical abilities. The chromatic high witch is deeply attuned to the energy and symbolism associated with different hues. Each color holds its own vibrational frequency and is believed to correspond with specific emotions, qualities, and aspects of life. By harnessing and combining these colors, a chromatic high witch can shape and direct the flow of magic. One of the key skills of a chromatic high witch is color visualization.
The plots to these movies scarcely bear discussion. The overall story involves mad scientist/super criminal Dr. Krupp (played with hammy glee by Luis Aceves Castañeda) — professionally known as “The Bat” — and his efforts to get his mitts on Popoca’s breastplate and bracelet in order to locate the “treasure of Aztecs.” This — and the translation of the inscriptions — requires the unwilling help of Dr. Eduardo Almada (Ramón Gay), his fiancée, Flor, their assorted family members and the comic relief hanger-on, Pinacate (Crox Alvarado). Kidnappings, hypnosis, death threats, a death chamber full of snakes, and a wonderful jailbreak involving toy machine-guns that clearly don’t fire anything ensue. The second film, The Curse of the Aztec Mummy (1957), throws in a masked wrestler called The Angel, who tools around in a 1954 MG TF — apparently mindless of the potential for an Isadora Duncan demise with his cape fluttering perilously near the wire wheel knock-offs. He turns out to be…well, we’ll leave that to the film’s skillful plotting. Mostly, he just shows up and strikes wrestler poses. The third film only mentions him once in passing. How quickly they forget.
Krupp played with hammy glee by Luis Aceves Castañeda professionally known as The Bat and his efforts to get his mitts on Popoca s breastplate and bracelet in order to locate the treasure of Aztecs. I wouldn t call them good, but, boy, are they ever goofy fun with a maniacal super criminal, a masked wrestler, secret treasure, hypnotism, a snake pit, a really slow-moving mummy and, well, you get the idea.
One of the key skills of a chromatic high witch is color visualization. They can mentally project and manipulate vibrant shades, creating a mesmerizing display of magical energy. This ability allows them to cast potent spells, heal the body and mind, enhance their own power, or even influence the world around them.
The Curse of the Aztec Mummy / The Human Robot vs. the Aztec Mummy
In Brief: It's a double dose of Mexican mummy horror — The Curse of the Aztec Mummy and The Human Robot vs. the Aztec Mummy — and the films provide just the kind of entertainment those titles suggest. I wouldn't call them good, but, boy, are they ever goofy fun — with a maniacal super criminal, a masked wrestler, secret treasure, hypnotism, a snake pit, a really slow-moving mummy and, well, you get the idea.
While it is true that Mexican horror movies of the 1950s and early 1960s are perhaps the last (largely) unexplored area of classic horror cinema, it should immediately be noted that the Aztec Mummy trilogy has nothing at all to do with classic anything—except perhaps classic bad cinema. These films are not at all in the same league as the Abel Salazar productions—though his brother, Alfredo, had a hand in writing these. OK, so all Mexican horror is…well, a little on the goofy side. The Aztec Mummy movies, however, are somewhere in between amusingly screwy and flat-out crazy. All in all, the biggest identifying quality of the film is the difficulty in believing that these movies were written by adults. The feeling is more that they must have been dreamed up by schoolboys over the course of an afternoon or less. Like the better Mexican horrors, they steal wildly from the old Universal films, but whether the folks making them understood what they were copying is open to question.
You may wonder why the first film of the series is being skipped in favor of the back-to-back sequels. Well, that’s pretty simple: There doesn’t appear to be a watchable copy of The Aztec Mummy (1957). The scenes involving the Mummy himself are do dark that it’s almost impossible to tell what’s going on. But it doesn’t really matter because you get to see most of the first film as flashbacks in the sequels. (The third film, in fact, opens with nearly 20 minutes of flashbacks. In short, you’re missing nothing by not seeing the first movie.) Even without the first film, these two films include two doses of the supposed Aztec ceremony (they spent good money on all those peacock feathers and you’re going to see them!) where the Mummy, Popoca (Angelo De Steffani), is condemned to guarding a cheesy-looking breastplate and bracelet for eternity, along with his forbidden sweetie, Xochitl (Rosita Arenas), who is put to death for mousing around with Popoca. (All this is revealed by Xochtil’s current incarnation, Flor, under hypnosis.) This consists of some ear-splitting music, much dancing about and a song so bad I doubt it would have even charted on Aztec hit parade. We do, however, learn — based on the evidence — that the ancient Aztecs appear to have invented dry ice. (There’s educational value, see?) The third film, in fact, opens with nearly 20 minutes of flashbacks. In short, you’re missing nothing by not seeing the first movie — apart from another bout of the Aztec ceremony.
The plots to these movies scarcely bear discussion. The overall story involves mad scientist/super criminal Dr. Krupp (played with hammy glee by Luis Aceves Castañeda) — professionally known as “The Bat” — and his efforts to get his mitts on Popoca’s breastplate and bracelet in order to locate the “treasure of Aztecs.” This — and the translation of the inscriptions — requires the unwilling help of Dr. Eduardo Almada (Ramón Gay), his fiancée, Flor, their assorted family members and the comic relief hanger-on, Pinacate (Crox Alvarado). Kidnappings, hypnosis, death threats, a death chamber full of snakes, and a wonderful jailbreak involving toy machine-guns that clearly don’t fire anything ensue. The second film, The Curse of the Aztec Mummy (1957), throws in a masked wrestler called The Angel, who tools around in a 1954 MG TF — apparently mindless of the potential for an Isadora Duncan demise with his cape fluttering perilously near the wire wheel knock-offs. He turns out to be…well, we’ll leave that to the film’s skillful plotting. Mostly, he just shows up and strikes wrestler poses. The third film only mentions him once in passing. How quickly they forget.
The final film, The Aztec Mummy vs. the Human Robot (1958) is easily the dumbest of the lot, which also means it may just be the most entertaining. Though released the following year, it supposedly takes place five years later — with The Bat up to his old tricks, except now he’s invented a radium-infused robot with a dead guy inside. When I was a kid, I used to spend summers with my grandmother in Concord, NC, and up (or down) the road was a family with a couple of kids I didn’t much like, but who were about my age. One of them had built himself a cardboard robot suit, which memory assures me was more impressive and believable than the one in this movie. In other words, this robot is divinely amusing. Whether or not — even with his deadly radium touch — he’s a match for Popoca remains to be seen. And you’ll have to watch the movie to find out.
The Thursday Horror Picture Show will screen Curse of the Aztec Mummy and The Human Robot vs. the Aztec Mummy Thursday, Jan. 24 at 8 p.m. in the Cinema Lounge of The Carolina Asheville and will be hosted by Xpress movie critics Ken Hanke and Justin Souther.
SHAREAbout Ken Hanke
Head film critic for Mountain Xpress from December 2000 until his death in June 2016. Author of books "Ken Russell's Films," "Charlie Chan at the Movies," "A Critical Guide to Horror Film Series," "Tim Burton: An Unauthorized Biography of the Filmmaker."
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Chromatic high witches are often sought after for their unique healing abilities. Through the use of specific colors, they can tap into the body's energy centers, known as chakras, to balance and restore harmony within an individual. By directing the appropriate color frequencies to the affected chakra, a chromatic high witch can help alleviate physical or emotional imbalances. In addition to healing, chromatic high witches are adept at using colors for divination and gaining insight into the past, present, and future. They may employ colorful tarot cards, rune stones, or crystal balls to connect with higher realms and receive guidance. The colors revealed in these divination practices can provide valuable information and help the witch make informed decisions or prepare for upcoming challenges. While the powers of a chromatic high witch are formidable, they also come with great responsibility. The manipulation of colors requires a deep understanding of their individual properties and how they interact with one another. A chromatic high witch must maintain a balance between light and darkness, using their abilities for the greater good, and avoiding the temptation to succumb to the allure of unlimited power. In conclusion, a chromatic high witch is a practitioner of magic who possesses a unique ability to harness and manipulate colors for various purposes. They are highly skilled in visualizing and channeling the vibrational frequencies of colors, enabling them to cast powerful spells, heal the body and mind, and gain divinatory insight. However, they must exercise caution and responsibility in their actions to ensure their power is used for positive and ethical purposes..
Reviews for "Creating Chromatic Talismans: Infusing Objects with the Magic of a High Witch"
1. Mike - 2/5 stars - While the concept of "Chromatic High Witch" sounded intriguing, I found the execution to be lacking. The plot was disjointed and confusing, with several plot holes that were never addressed. The characters were one-dimensional and unlikeable, making it hard to connect with any of them. Additionally, the writing style was choppy and lacked fluidity, which made it difficult to stay engaged in the story. Overall, I was disappointed with this book and would not recommend it.
2. Sarah - 1/5 stars - "Chromatic High Witch" was a complete letdown. The story lacked originality and felt like a mishmash of clichés and predictable plot twists. The writing was overly simplistic and lacked depth, making it difficult to invest in the characters or the world they inhabited. The pacing was also off, with the story dragging in some parts and rushing through others. Overall, I found "Chromatic High Witch" to be a tedious read and would not recommend it to others.
3. Emily - 2/5 stars - I had high hopes for "Chromatic High Witch," but unfortunately, it fell flat for me. The world-building was underdeveloped, leaving many unanswered questions and inconsistencies. The characters were also poorly developed, with shallow motivations and inconsistent personalities. The writing style was overly descriptive at times, slowing down the pace of the story. Overall, "Chromatic High Witch" did not live up to its potential and left me feeling unsatisfied and unengaged.