[2] Young Orol had many occupations at the same time: boxer, mechanic, racing driver, journalist, actor, bullfighter and police officer.
[citation needed] He started working on the radio as artistic director and publicist while he contacting with the nascent Mexican film industry.
[3] Initially Orol entered the Mexican film industry as another way to make a living, but eventually he developed a passion for the world of cinema.
The following year, Orol risked his own capital and premiered simultaneously as producer, writer and star in the film Mujeres sin alma, also directed by Peon.
Orol's films developed a signature style, with the recurring themes of the tropics, the rumberas, exotic landscapes, beautiful and provocative women and the cabaret as an ideal location.
Likewise, he created in Cuba the Caribe Films production company, helping him to make his co-productions with the island.
In most of them, he participated in more than two or three of the main activities of the film: production manager, director, producer, screenwriter and actor.
With María Antonieta Pons, Orol made films like Cruel Destiny (1944), The Secrets of the Underworld (1945), Caribbean Bewitch (1946) and Stormy Passions (1947).
Although Pons and other of his subsequent filmic muses were exclusive stars of España Sono Films, Orol allowed them to work with other production houses.
After his break[clarification needed] with Pons, Orol made the film The Love of my Bohío (1946), starring the Costa Rican actress Yadira Jimenez in the lead role.
In search of a new female star of his films, Orol moved to Cuba, where he discovered what would be his next filmic muse: Rosa Carmina.
Probably the most notable are the classic Gangsters Versus Cowboys (considered today as a Cult film) and Sandra, The Woman of Fire.
After separating from Rosa Carmina,[clarification needed] Orol filmed The Lame Waitress of the Cafe of the Port, a Cuban-Mexican production, as director, producer and screenwriter, with Marta Rams and Julio Capote as main actors.
His films during this period include The Curse of my Race (1964), Prelude to the Electric Chair (1966) and the cult classic The Fantastic World of the Hippies (1970), made with American co-production.
The last appearance of Juan Orol on the big screen as an actor was in the film Ni modo...así somos (1981).
[6] After divorcing Pons, Orol decided to launch the Costa Rican actress and dancer Yadira Jimenez.
In most of them, he participated in more than two or three of the main activities of the film: production manager, director, producer, writer or actor.
[9] Juan Orol has been compared with American filmmaker Ed Wood, canonized as "the worst director of all time".
He earned box office success in his time, the public admired his filmic muses and his evil gangsters, no matter the plot and technical poverty of his productions.
In Los misterios del hampa(1944), whose screenplay was set in Chicago, a bus in the background reads "Cozumel Peralvillo-Line", a typical line of trucks of Mexico City.
In Zonga..., a film that takes place in the Amazon rainforest, there is in the background a monument to Bolivar from the Bosque de Chapultepec in Mexico City.
[11] Also, he is known for having imported to the Mexican Cinema two of the biggest stars of the genre: María Antonieta Pons and Rosa Carmina.