As his great aunt’s sole living heir, Tony (Roberto Guinar) inherits her Mexican mansion — lush landscape, spacious back patio and creepy clown doll included.
The doll, named Payasito (“Little Clown”), is played alternately by a limp bag of rags and dwarf Margarito Esparza Nevares, whose white-greasepaint face suggests the unholy union of Bob Hope and Ringling Bros. and Barnum & Bailey circus performer Michu. Because it can, Payasito frightens Tony’s pregnant wife down a short flight of stairs to her death, but the baby is saved.
Years later, that lucky embryo swells into Tony’s tot son, Roy (Alan Fernando), whose attachment to the doll rivals Velcro, glue traps and static cling. This skeeves out Tony’s new trophy wife, Doris (Mexico Playboy model Lorena Herrera). Every time she and her hoochie-mama pants try to hide and/or ditch Payasito, the damn thing escapes and/or returns and kills somebody. Repeat until you hit the bare minimum for feature-length qualification, which you can do if you direct the dwarf to move … verrrrry … slowwwwwly.
Also known by its English title of Diabolical Inheritance, Herencia Diabólica is referenced in shorthand as “the Mexican Chucky.” Not to desiccate the corpse of director Alfredo Salazar, but he wishes this thing were mas like Child’s Play. In a still photograph, Payasito may strike you as creepy, but in motion, he inspires laughter; with Chucky, the opposite is true.
Salazar clearly exhibited better luck at the typewriter, where his formidable résumé includes screenplays for such Mexploitation mainstays as The Batwoman, the Wrestling Women, the Aztec Mummy and many a Santo adventure — yep, even the one with big-breasted vampire ladies. —Rod Lott
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