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Nazario. 1958. Inseglet sjunde

Luis Buñuel

claimed to be atheist but I was fascinated with the theological issues including those directly related to the clergy. Contrary to the usual optical reflecting the dispossessed or the disabled, religious people generally had positive traits. "Nazario" is the portrait of an earthly being too close to sainthood. "Buñuel's version of the life of Jesus," said a friend exaggerated.

film is sluggish and a conventional plot, is isolated from large-scale surrealism, but reveals some hints of it. The reason is that it is based on the realist novel of the same name written by Benito Perez Galdos in 1895. Buñuel respects the protagonist's deep Christian spirit and projects a human being gentle, kind, compassionate and too complacent.


Father Nazario blanket in his home to prostitutes and outcasts and therefore is forced to leave, to wander through the most diverse regions. The constant is the preaching by word and action of Christian precepts. In their flight is accompanied by two women who are seduced by its tranquility and knowledge, seek spiritual peace after living with little modesty.

This contradiction of principles, a hermit with two disciples of questionable reputation, cause malaise and is sentenced to prison. Nazario is put in captivity with the worst kind of people who abused and reviled but he does not cease in its serenity.

Despite this being sui generis tape in the filmography of director of Aragon, due to the conventional scheme and the way they deal with are visible details that reveal their origin. Five are the mythical images and which will provide the seed being utterly obscure and debatable: the kiss becomes bite, pose style "Linda Blair" Exorcist-in-the whore, she only involved in the white sheet in the middle of nowhere, pineapple given to cure by the seller and the Christ who laughs. The overall result is a paradox because while the father Nazario is the Christian ideal, the latter and controversial picture perfectly reflects the irreverence and fun than ever attended religious views Calanda director.

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Det. (The Seventh Seal). Le Locataire

Ingmar Bergman

is not even difficult to imagine the dramatic situation experienced by the fourteenth-century Europe. The pandemic of plague, "Black Death" or bubonic plague, spread throughout the continent and entire countries hit. In a few years glared at large population groups (between a quarter and half of European scholars suggest.)

Sometimes you see death as something far and it is up the appearance of certain tragic events when we reflect deeply on these things. Suddenly the old continent's population lived and suffered torment in hell on earth and in the flesh. Total revolution in art, lifestyle and economy were the consequences of mass death. These apocalyptic events generated fascination with the macabre and a substantial increase in spirituality. Religiosity was masochistic: Flagellates roamed the streets beating and marking back strongly, the company argued that only a celestial punishment was inflicting such havoc.

This is precisely the historical framework Bergman's film of that. It meant the ideal pretext to express their obsessions and, of course, those of all humanity as a whole: What is really God?

* Death has walked beside the crusading knight Antonius Block for long. Your body is ready to go but he is not in itself, while not losing a great game of chess as the Grim Reaper will not because his soul is precisely what the dispute. What is a photograph Bergman but splendid, deep existential dialogue, dynamic and spectacular theatrical and large open spaces?

The gentleman is an isolated character, reluctant to people of contempt and It feels empty. Do not want to die because he still does not hold enough knowledge: "It is inconceivable to comprehend God with the senses." In the end, the film has to atheism, but not for the dubious behavior of the clerical class, which exhibits, but rather a question of a philosophical than many of us has to think at some point.

"We make an idol of our fear and call it God" Antonius bluntly. And that statement is shaking the foundations of religion, at least the more practice. The bulk of believers are in fear of what might happen if they do not follow a religion; are few people who question depth why believe in God. Take refuge to an irrational desire so as not to feel alone and themselves protected. Plasma Bergman the divergence in the dialogues of the knight and his own inner demons are those which provide it with language, it exclaims, "What will happen to those who want to believe but can not?" The goal that guides, to interact so closely with death, is knowing what or who God knows what is closest and is willing to pay a high price, their own lives.

Bergman uses a device already used by Edgar Allan Poe in "The Masque of the Red Death" to give more suspense and strengthen the outcome. In the end, the knight returned to his castle Remote and wild, next to his wife to read, along with some guests, passages of the Apocalypse of St. John.

Finally, it should be noted the tendency of mankind to fear the coming times. I think we are fatalistic in nature and in every age and place of the world is latent catastrophic and apocalyptic vision. The strange thing is that we believe must be some way to atone for our sins and that can stop the calamity.

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1957. (The tenant). 1976.

Roman Polanski

Trelkovsky must be one of the most quiet, peaceful and liabilities which may have been seen. The citizen Polish origin, played brilliantly by Polanski himself, should enjoy these stoic features because, as the plot progresses, it is growing in an extremely strong mutation. The cause is the macabre and disturbing influence of neighboring unbalanced.

The script is gradually and imperceptibly rises in intensity until it is consumed in a totally unexpected situation. There are few surprises in the first two thirds of the film, but represent the pinnacle of psychological thriller. The plot is dull and dreary, too intimate. Polanski managed to combine all their arguments in a subtle and isolate all to a point of no return, until a cyclical final anthology is extremely paranoid, desperate, illogical and captivating ... it's like a blow to the head hurts so unreal.

The protagonist seeks to rent an apartment in a building inhabited by abnormal, from the moment of his arrival is hostility, ridicule and sarcasm. Unfortunately, he learns that the woman who occupied the building now inhabited attempted suicide, throwing it out the window, and that it now is in the hospital. Decides to go see it and then go to your funeral. It is at this point that the display conveys incredibly disturbing images and dialogue: the Christ crowning the altar appears distorted, frightening and repulsive, the left image is dressed in a dialogue that sounds equally scandalous poetry evil:

"The icy tomb. You will return to dust you came and just be your bones. The worms eat your eyes, your lips, your mouth. Shall go by your ears, your nose. Your body will rot down to the smallest rise and give off an unbearable stench. Yes, Christ will ascend to heaven and meet with all the angels, but not with that creep like you, full of the lowest vices, longing only carnal satisfaction How dare importune and trade taunts in my face? What insolence, what are you doing you here in my house? You belong to the cemetery, you suck. You stink like the stink of corpses that remain along the road. In truth I tell you will never enter my kingdom. " What gives a clue to the outcome.

Most people around intends Crazy: shore to the new tenant to change, in Mademoiselle shul through the repetition of their acts more personal. The insistence and pressure, or maybe just their own susceptibility, which lead to the loss of personality and a deep paranoia. Tenant asserts the "What time an individual ceases to think of it himself?" Before losing sense and anticipation as to the facts. Figures

dark, macabre happy, they seem to observe at all times from the bathroom. His whole world is expectant about what does or does not do, inevitably beset; the pretexts and provocations abound. Polanski has to do a parade of utterly absurd and irrational. Everyone has the slogan satiate his new neighbor, but never revealed the reason for this behavior. Trelkovsky is extremely friendly and helpful but never matched, is desperate to meet someone with such extreme passivity and patience.


the end their mental health is deplorable, has hallucinations, ends up distrusting their friends Nearest place in terror and irrational to almost any situation. As the madness induced travel could sum up the central argument. In this migration, the tenant is not return.


years ago, Polanski had made and "Repulsion" and "Rose Mary's baby." The common factor is that the plot revolves around an apartment and his eccentric neighbors and the results are widely recognized. In the case of "Rose Mary's Baby", one can not figure out until the end if the main character is crazy or indeed others have satanic tendencies. "Repulsion" I have not seen, but the formula applies to "Tenant" where the biggest impressions and the final conclusion is revealed until the end.