Luis Buñuel
to see if this may be the last time I talk about Luis Buñuel, but it seems important to make certain details on this controversial tape half twentieth century.
Mexican cinema was far from being crude and, frankly, unrealistic. Always reflected how nice it was to be campirano, rustic (a true native of the province) and promoted the stereotype of the cowboy. The topics addressed were simplistic and were full of songs and odes to various women. There was also the comic film that he had no more claim to take the easy laugh at the general public.
Amid this sea of \u200b\u200bhypocrisy, for lack of any way, they presented a film opposite established canons, to the successful formula that everyone was happy and revealed a reality that everyone knew but who insisted on hiding. The fifties and the seventies to represent a golden age in the Mexican economy and growing middle class living standards is presented in those years has not been exceeded. "How can an immigrant reflects those murky and disturbing images of the dispossessed? It is tendentious and provocative addition to lacking the minimum taste ", I thought the traditional society, for no reason of course.
The initial story is a little silly and the voice was Ernesto Alonso (Archibald de la Cruz in "Test of a crime"). Basically introduced to the main plot: the cities are monsters where there are thousands of misfortunes every day and nobody seems to care until it affects you directly, this behavior is magnified when the unhappy are also the poorest. The issue becomes more dramatic because it focuses on pubertal (none of them an actor itself), it is heartbreaking to find young people so immersed in such a sad and serious problems.
Luis Buñuel is constant in all directions. In each of his works are repeated clearly identifiable factors, one of them is to show the most deprived (economically and physically) as subjects negligible. Mexican cinema has "We the poor" (1947) Ismael Rodriguez one of three representative works, it speaks of the moral quality of the lower social strata, despite its many woes never stop of solidarity. "The Forgotten" represents something completely opposite: the poor kill each other, are cunning, and cruel interested. This radical transformation was an itch that people are not allowed.
It is far more popular film of Buñuel, the plot is well known and it is unnecessary to emphasize it. Instead I'm going to steer me to the most obscure but also more attributable to him. The interest arose because to write down exposure located, referred to "Viridiana", I alluded to more surreptitious unconscious manifestations Aragonese director.
Mexican cinema was far from being crude and, frankly, unrealistic. Always reflected how nice it was to be campirano, rustic (a true native of the province) and promoted the stereotype of the cowboy. The topics addressed were simplistic and were full of songs and odes to various women. There was also the comic film that he had no more claim to take the easy laugh at the general public.
Amid this sea of \u200b\u200bhypocrisy, for lack of any way, they presented a film opposite established canons, to the successful formula that everyone was happy and revealed a reality that everyone knew but who insisted on hiding. The fifties and the seventies to represent a golden age in the Mexican economy and growing middle class living standards is presented in those years has not been exceeded. "How can an immigrant reflects those murky and disturbing images of the dispossessed? It is tendentious and provocative addition to lacking the minimum taste ", I thought the traditional society, for no reason of course.
The initial story is a little silly and the voice was Ernesto Alonso (Archibald de la Cruz in "Test of a crime"). Basically introduced to the main plot: the cities are monsters where there are thousands of misfortunes every day and nobody seems to care until it affects you directly, this behavior is magnified when the unhappy are also the poorest. The issue becomes more dramatic because it focuses on pubertal (none of them an actor itself), it is heartbreaking to find young people so immersed in such a sad and serious problems.
Luis Buñuel is constant in all directions. In each of his works are repeated clearly identifiable factors, one of them is to show the most deprived (economically and physically) as subjects negligible. Mexican cinema has "We the poor" (1947) Ismael Rodriguez one of three representative works, it speaks of the moral quality of the lower social strata, despite its many woes never stop of solidarity. "The Forgotten" represents something completely opposite: the poor kill each other, are cunning, and cruel interested. This radical transformation was an itch that people are not allowed.
It is far more popular film of Buñuel, the plot is well known and it is unnecessary to emphasize it. Instead I'm going to steer me to the most obscure but also more attributable to him. The interest arose because to write down exposure located, referred to "Viridiana", I alluded to more surreptitious unconscious manifestations Aragonese director.
Obsession with the eyeballs is pretty clear. A single child, the lost, is known as "Ojitos," which serves the blind seeing-eye (Don Carmelo) obviously lacks them. The cart in which wanders another unfortunate, for lack of legs, has written the phrase "look at me."
The presentation of the first chicken occurs when Pedro and El Jaibo destroy the instruments with which the blind make a living. The decision puts in front and their appearance seems to be sarcastic and mocking. Under the influence of the execrable murder, Pedro has dire nightmares, in a surreal scene suddenly appears fighting Julian with him for large chunks of meat near the end of sleep while flying some chickens hypnotic music can be heard. Shortly after being locked up in juvenile hall, Peter draws several birds of this type on the wall, and beating his anger catches up to some who quietly peck the ground, then throws an egg toward the camera as judging the consciousness of the viewer.
eroticism that radiates Luis Buñuel focuses on the legs. You can see a young Alma Delia Fuentes (Meche) by washing with milk while the nasty blind lust and want to touch, just before Peter's mother does the same while "Jaibo seems excited. This same scene is quite common: it occurs in "Rehearsal for a Crime" (1955) when Archibald nanny is murdered, in "Ascent to heaven" when Lilia Prado off the bus and "He" when Arturo de Cordova enomora Delia Garcés to see the calf. List
abhorrent actions committed by poor and disabled would be very complicated because it is basically constant throughout the film, but the murder, the wretched of the blind, the atrocities committed against the person without legs, so vile to shoot Peter away ... would be most noticeable.
That cruel final was censored. The alternative was to let live the character of Peter as he walked school and a brilliant sun appeared in the background. Everyone must choose what seems best, but despite that he has spent so much time is ruffling the skin.
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