Viridiana
Labels:
*8*,
1961,
60's,
bw,
Cannes Palm d'Or,
Drama,
foreign language,
Luis Bunuel,
Religion,
Spain
Luis Bunuel, 1961, Spain, bw (8*)
Palm d'Or (Cannes)
The surrealist Spanish director Luis Bunuel (Discreet Charm of the Bourgeoisie), friend of painter Salvador Dali, can be a difficult filmmaker to understand. For those who would like a more normal, non-surrealist intro this is a good early film with a nearly straightforward story. A nun named Virigiana, played by Silvia Pinal, gets word that her uncle, played by Bunuel favorite Fernando Rey, is ill and aging, which isn't entirely true. She doesn’t really
After settling in at her uncle’s estate, she realizes the wealth he has available and that she can do some good with it rather than hoard it for the family. She visits the town and invites several of the local homeless beggars to come live at the estate as long as they respect everyone and don’t fight and follow simple rules. The ensuing events test her faith as well as faith in mankind. Rather than an apparently wandering film like Discreet Charm, this story has a cohesive progression to an end, which should delight those who haven’t found Bunuel understandable to this point. He admits in interviews that he rarely has a story in mind, and just largely improvises when the cameras roll. In this film, he apparently had more of a script and perhaps it shows as this is his most critically acclaimed film.
Palm d'Or (Cannes)
The surrealist Spanish director Luis Bunuel (Discreet Charm of the Bourgeoisie), friend of painter Salvador Dali, can be a difficult filmmaker to understand. For those who would like a more normal, non-surrealist intro this is a good early film with a nearly straightforward story. A nun named Virigiana, played by Silvia Pinal, gets word that her uncle, played by Bunuel favorite Fernando Rey, is ill and aging, which isn't entirely true. She doesn’t really
After settling in at her uncle’s estate, she realizes the wealth he has available and that she can do some good with it rather than hoard it for the family. She visits the town and invites several of the local homeless beggars to come live at the estate as long as they respect everyone and don’t fight and follow simple rules. The ensuing events test her faith as well as faith in mankind. Rather than an apparently wandering film like Discreet Charm, this story has a cohesive progression to an end, which should delight those who haven’t found Bunuel understandable to this point. He admits in interviews that he rarely has a story in mind, and just largely improvises when the cameras roll. In this film, he apparently had more of a script and perhaps it shows as this is his most critically acclaimed film.
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