"The Curse of the Aztec Mummy" (the literal translation for "La Maldicion de la Momia Azteca") follows the story from "La Momia Azteca," second in a trilogy concluding with "The Robot vs the Aztec Mummy," all directed by Rafael Portillo and scripted by Alfredo Salazar. It's essentially a 1957 Mexican take on the then-current Bridey Murphy craze, which inspired Hollywood cheapies like Roger Corman's "The Undead," W. Lee Wilder's "Fright," Alex Gordon's "The She-Creature," Peggie Castle's "Back from the Dead," Michael Landon's "I Was a Teenage Werewolf," Ed Wood's "The Bride and the Beast," and Lon Chaney's "The Alligator People." Like the later incarnation of the Aztec Mummy in 1964's "The Wrestling Women vs the Aztec Mummy," the monster's origin is virtually identical to Boris Karloff's in the 1932 version, a high priest who dared to love virgin handmaiden to the gods Xochitl, his name in this series Popoca, played in all three by Italian actor Angel Di Stefani. The main thrust of the initial narrative is Professor Almada (Ramon Gay) putting his young fiancée Flor (Rosina Arenas) into a hypnotic state to learn about her past life as an Aztec princess, put to death for loving Popoca, wearing a breastplate and bracelet, items that reveal more hidden treasures within the Great Pyramid of Yucatan. Of equal importance is the masked villain The Bat, who covets the Aztec riches for himself and is caught by police at the film's conclusion, unmasked as mad doctor Krupp (Luis Aceves Castaneda), in search of the treasure for some great experiment. The mummy doesn't actually come to life until an hour into its 80 minute running time, spending the last 12 minutes venturing out to recapture the stolen artifacts plus the reincarnation of his beloved princess to sacrifice her to the gods a second time just as Karloff's Imhotep sought to do (this mummy resembles photos of the real thing, and despite the brevity of its appearances is rather effective). The girl is rescued before an explosion buries the mummy and her father inside the tomb, not seen in the US until Jerry Warren's patchwork "Attack of the Mayan Mummy," which jettisoned most of the 1957 footage for lengthy talking head scenes featuring the usual suspects like Bruno Ve Sota. This first sequel kicked off with Dr. Krupp's henchmen aiding his escape to kidnap Flor and use his own hypnotic powers to make her lead him to the tomb and the breastplate left behind. Also present for this lone entry is the caped crusader The Angel, a non wrestler in need to rescue from a teen accomplice, who gets himself unmasked as Almada's supposedly cowardly assistant, along for the ride once the villains invade the tomb with 15 minutes left in an hour long feature. Krupp takes what he needs among the rubble, the mummy rising for a couple minutes of menace, reappearing in the final 180 seconds to put The Bat in his place by tossing him into his own death trap filled with poison snakes. Only one five minute sequence depicting the sacrifice of the Aztec princess is recycled from "La Azteca Momia," while the series finale would wind up using more stock footage to pad out its hour long running time.