Macario

Gavaldon's "el nino e la niebla " ( 1953)already verged on the fantasy genre :remember the terrifying mask Dolorès Del Rio met at the ball , which came back as a vision for the gloomy final . Death is more important to Mexican people than to many other ones; don't we spend more time dead than alive? " a character says ; the movie begins with )the feast of Death - two decades later ,John huston began "under the vulcano " the same way -;death is omnipresent in a country where poverty runs rampant .

"Macario" is a fable ,using the Gospels : like Christ , Macario's forced fast is about over. His dream is about to come true : eating an entire turkey . The devil ,in the shape of an officer,has been watching him thinking then this human being will be most vulnerable.and he goes as far as to offer him the whole forest ;Macario is no Christ (didn't he show himself selfish when he hides from his children to wolf down his food?)so he denies God and opt for a third power ,Death ,whose gift is deceptive : a precious water can heal the sick ,but only if the supreme power (the Allmighty) has decided so.

Macario's wretched life comes to an end, but it arouses the hatred of the Holy see and of the Holy Office : these suspicious healings might mean witchcraft.

Roberto's Gavaldon 's directing is absolutely masterful : whenever he films his hero salivating in front of the turkeys prepared for the wealthy ,or this impressive scene of nightmare with these puppets going up and down ,all representing death for his feeble children (he screams :"leave me one of them"!); you may remember Daniel's nightmare in "el nino y la niebla ".

Of course the rapport Macario has with Death may remind you of Bergman 's "the seventh seal" ,but it seems that Gavaldon ,for his sequence in the huge cave, was influenced by FrItz Lang 's silent movie " Der müde Tod"(1921):all the candles representing a life and a fate ,which a simple pinch can blow out .But only when God has decided his/its time is through.

A jewel of the Mexican cinema.

This was Mexico's first contender for the Best Foreign Language Film Oscar (which was also up for the Palme D'Or at Cannes): to be honest, I only became aware of it myself recently while looking for links to "Mexi-Horror" outings on "You Tube" (it is indeed a fantasy but not a scary one, and far from goofy)! In fact, I acquired a copy of this one online that included slightly oversized burnt-in English subtitles. Its viewing followed hard on the heels of THE TRUTH and KAPO', which were the French and Italian entries in the same Academy Awards category – with the only nominee now remaining unavailable (and, consequently, unwatched) being the Yugoslavian competitor THE NINTH CIRCLE. The winner emerged Sweden's THE VIRGIN SPRING – which, like the movie under review, was a fascinating parable; incidentally, both films again found themselves in the running at Cannes, with the Ingmar Bergman title getting a "Special Mention" but the top prize being awarded to Federico Fellini's LA DOLCE VITA.

MACARIO (nothing to do with a lowbrow Italian comic that goes by this very name!) deals with a poor Mexican wood-cutter who, rather selfishly, wishes that he could feed on a turkey but without sharing it with anyone, not even his plentiful family!; to be fair to him, he does go on a hunger strike in protest at the unfairness of the class system! His wife (played by tragic actress Pina Pellicer, best-known for her role in Marlon Brando's ONE-EYED JACKS {1961}) obliges by stealing the bird in question from the wealthy mansion for which she washes the laundry, hiding it even from her husband and then surprising him when he wakes up to go to work the next morning. As he lies down to feast on the turkey, he receives three visits from different men all requesting that they partake of the man's lunch: these obviously symbolize the Devil (appearing in the guise of a bandit), God (a shepherd) and Death (a beggar). Weighing his options, Macario accepts the latter's presence at his 'table' and, in gratitude, is given healing powers…but only to those Death himself indicates!

Soon, the protagonist has his hands full with patients (beginning with his own son, who fell down a well) – to the consternation of the local doctor and undertaker – and, growing increasingly respectable, relocates to a big house in the town centre. Eventually, the Viceroy (played by "Euro-Cult" regular Eduardo Fajardo) comes to call in order to save the life of his own offspring – but Death appears at the head of the bed in his case, the sign that he is not to subsist. Macario tries to persuade him to show mercy (apart from turning the bed around a number of times so as to appear that Death wants the child to be spared after all) – for his own sake at least, since the Inquisition has also turned up determined to expose him as a charlatan or a sorcerer and have the hero burned at the stake! He is, however, given one last chance and asked to point out who from among a cell housing various convicts, and with the public hangman thrown in as a lark, is to make it out alive: when Macario states that all will survive (including one who had been sentenced to death) but the executioner himself, the prosecutors believe they finally got him trapped…but an attendant immediately reports that the man in question has indeed expired from a heart attack and the condemned man has been suddenly reprieved! The downbeat and irony-tinged conclusion, then, takes us back to the all-important turkey-eating deep in the forest…

The narrative's inherent simplicity is countered throughout by the renowned Gabriel Figueroa's expert lighting – perhaps seen to best advantage towards the end when Death invites Macario to his cave where the whole of humanity is represented by burning candles a' la Fritz Lang's DESTINY (1921); interestingly, he would recapture the "Day of the Dead" celebrations – seen here in the film's opening stages – for John Huston's UNDER THE VOLCANO some 24 years later! For the record, the script was based on a novel by the mysterious B. Traven (author of the source material that formed the basis of Huston's own 1948 Oscar-winning classic THE TREASURE OF THE SIERRA MADRE – coincidentally, too, Traven was born on the very day I watched this)! Besides, the supporting cast includes a number of faces familiar from films Luis Bunuel made during his Mexican tenure. As for director Gavaldon, I ought to mention that I also own but have yet to check out his THE LITTLEST OUTLAW (1955), co- starring Maltese character actor Joseph Calleia. One last thing: judging by the "Critic Reviews" MACARIO gets on the IMDb, it does seem to have a definite cult following – which makes its obscurity to this viewer somewhat baffling; in retrospect, the end result indeed constitutes a minor genre classic worthy of greater exposure.

I was grateful for the rare opportunity to see the 1960 Mexican film `Macario.' Without going over the plot again, suffice it to say that it is a spooky, black and white film reminiscent of Bunuel's `Los Olvidados' and Bergman's `The Seventh Seal.' If that sounds appealing, `Macario' is definitely for you. Films with this sort of elemental power, and which tell an enthralling story devoid of marketing strategy, focus-group tweaking, or commercial gloss are increasingly rare. When you find one, it's usually an old film that you stumble upon by accident (as I did with this one). It's always a delight to find an old gem like this one. Great film!

I am ashamed to admit that I didn't find about "Macario" until 2000 when it gained some attention because "Amores Perros" was about to get nominated for Best Foreign Picture at the Academy Awards. "Macario" went to the spot light because it was Mèxico's first movie to get nominated for such an award. So I took away my prejudgments towards classic movies and I tracked down a "Macario" DVD.

And I am extremely glad that this movie has worldwide recognition because it truly is one of Mexico's best movies of all time (if not the best).

"Macario" is more than a fairy tale with macabre overtones such as displaying The Devil, or The Death. No, "Macario" has a social and humanitarian message PLUS it displays in a beautiful way Mexican culture towards the dead and how we (Mexicans) feel about Death. There's also a strong criticism against authorities and noble titles in the 18th century. This movie is rich in all the sense of the word.

Meet Macario, a Mexican campesino or land worker who isn't completely happy with his life because he desires what rich people have; specifically, eating turkey. Macario works hard for his family but it isn't enough for establishing a life full of comfort.

One good day, Macario's wife gets a turkey for him; a turkey that cost her a lot of effort and work. Macario is thrilled and delighted with it and decides to eat it all by himself, not sharing it. He walks too far until he gets tired and takes a rest in the woods. On his eating turkey journey Macario meets Satan, The Death, and God. The three iconic figures want a bite of that turkey but Macario won't share it. But Death makes a deal with him... a deal that will give Macario all the power, money, fame, respect and all the turkey goodies he always wished. But in exchange for what? True, he will be the savior for many souls but will also risk his own soul.

I don't want to give much away from this wonderful piece of cinema. It is a tender tale with dark overtones and Horror references but to be honest, this is more of a fantasy story displaying interesting facts of Mexican culture.

Ignacio Lòpez Tarso delivers an amazing performance as Macario. That's all I can say about him. He's the master. Also Pilar Pellicer delivers a great performance. Too bad that she committed suicide at such a young age.

The direction is flawless and sometimes looks way ahead of it's time. The same with the fantastic art direction and cinematography. The final scene where Macario is in front of thousands of candles it's a visually stunning and rich piece of art direction and cinematography. A memorable movie designed to charm everybody.

Please watch "Macario" if you haven't. You won't find a better Mexican movie than this. It has everything to become a favorite.

To be honest, I haven't seen it in 3 or 4 years but some scenes just keep repeating in my memory. This is a memorable movie in all the sense of the word. This movie makes me proud of being Mexican.

This film, set in colonial times, tells the tale of Macario, a destitute woodcutter who stumbles onto a magical source of healing power. He has a series of beautifully photographed adventures curing the sicknesses of the incurable in his tiny farming hamlet and the nearby town. As Macario's fame spreads, his wealth increases but his uncanny powers attract the wrong kind of attention, leading to a tragic denouement.

The powerless suffering of the poor, the boundless greed of the rich and of the poor alike, the eternal desire to cheat death and squeeze a few more drops out of this life -- these timeless themes are all operative here to good effect. This is not a subtle movie, and it is rather dated in its characterizations and its moralizing. Even so, the acting is competent and the plot engaging. There are some stunning scenes that combine with the first-rate cinematography to make the film lovely to look at.

If this rarely screened movie comes your way, I recommend that you take the opportunity to view it.