Simón del desierto

Simon of the Desert (1965)

**** (out of 4)

Bizarre "religious" film from Luis Bunuel is one of the best I've seen from him. Simon (Claudio Brook) climbs a column in the desert to be closer to God but soon has Satan try to tempt him with earthly pleasures. To give anything else away would ruin a few twists and turns along the way but I was pleasantly surprised with this little short. Bunuel has become one of my favorite directors but I find watching his religious films to be very frustrating because he either goes over the top with what I find stupid or I feel he spends way too much time trying to make points but everything here worked pretty well with me. The black humor mixed in with the messages was a great touch and Bunuel did a terrific job with all the temptation scenes. The scene with the nude woman trying to tempt Simon was brilliantly done.

The funding for this gleefully blasphemous feature was pulled before the film was completed, resulting in an abrupt and not quite satisfying ending. Still, what's left is a little slice of heaven (pun intended) with some of its directors most direct and powerful attacks on the clergy he made a career of hating. Bunuel here presents us with an ascetic so self-involved that he declines to embrace his own mother; he restores the hands to a peasant who immediately uses them to strike his own child; he prides himself on eating only lettuce, mentioning it often and to anyone who will listen. "Simon" is a good-looking film, too, with a visual landscape that echoes its protagonist's austerity and startling surreal touches -- such as a coffin that slides through the desert scrub to the base of the column atop which Simon spends his years -- that recall the glory days of "L'Age d'Or." It might have been a masterpiece had Bunuel been allowed the full scope of his vision; it's a major film as is. 8/10

This film is maybe one of the best films that Buñuel ever made although not among the most popular. Why? Because the production was shot faster than fast and the money ran out so the film couldn't complete the screenplay and art direction is poor. Besides there is the cultural fact, you need some religious background (Catholic if possible) to understand the irony of the film and the references. Humour differs from drama mainly in it's strong connection with time and environment while the latter is more transcultural and timeless. Buñuel had a deep religious knowledge although he lacked faith. The reason why the rock scene is so is that Buñuel didn't like rock. Sometimes people prefer Buñuel's French films because they look more glamorous, the caracters are more sophisticated and wearing richer clothes. Anyway I think the core of his filmography are his 'hispanic' films and the first ones ('l'age d'or', 'le chien andalou', Él, Los Olvidados, Viridiana, Tristana,...).

The ascetic religious Simón (Claudio Brook) believes he is a sinner and decides to self-inflict a sacrifice, living like a hermit on the top of a pedestal in the middle of the desert to be closer to God and resist the temptations of the world. His followers are peasants and travelers that believe that Simón is a saint capable of performing miracles and they crowd to hear his speeches. However, Satan (Silvia Pinal) tries to tempt him with the pleasures of the world.

In accordance with the cover of the VHS, Buñuel inspired in a Christian ascetic saint called Saint Simeon Stylites that lived for thirty-seven years on a small platform on the top of a pillar to parody his story with "Simon of the Desert" and criticize religion and believers with a witty humor. The unexpected plot point is a great and funny surprise with a completely different environment, but what else could the viewer expect from the master of the surrealism? This is the first time that I see this movie that has probably inspired Monty Python's "Life of Brian" and Alanis Morissette playing God in "Dogma". My vote is eight.

Title (Brazil): "Simon do Deserto" ("Simon of the Desert")

It is to be regretted that the filming of this had to be abandoned but the fact that what we have is the result of less than three weeks shooting is a testament to the skills of Luis Bunuel.

Despite the curtailed form it is still sufficient to enable the director to say what he has to say and to give us a self-contained masterpiece of film-making.

The title character, based upon ascetic Simeon Stylites who spent over three decades on top of a pillar with little or no sustenance will be seen either as an example of saintliness or foolishness but Bunuel, despite his avowed atheism, depicts him as a sympathetic figure whilst saving his customary mockery for those on the ground including the amputee who is not even grateful for having his hands miraculously restored; the dwarf who requests to be given a different blessing to that of his goats and of course the sanctimonious, extremely well-fed priests. One cannot but feel sorry for Simon's mother who still observes him whilst living in a tent despite his having renounced her in favour of God.

Very effective is the camerawork of Gabriel Figueroa who shoots from above and below. The score is suitably sparse and features the traditional Easter drums of Calenda that Bunuel utilised in 'L'Age d'Or'. The role of Simon represents the finest filmic hour of Claudio Brooks.

I have no doubt that Bunuel's feelings towards producer Gustavo Alatriste were mixed but happily for us their collaboration had previously resulted in 'Exterminating Angel' and 'Viridiana' which starred Alatriste's wife at the time, the luscious Silvia Pinal. Not only does the Devil have the best tunes but also the best guises and here her incredibly sexy personifications call to mind Oscar Wilde's "The only way to overcome Temptation is to yield to it"!

Bunuel is on top form here. Although compact this film really packs a punch and is free from the occasional longueurs of some of his full length features. It also confirms an astute critic's observation that Bunuel is as much a Realist as a Surrealist. Granted, the abrupt switch from a Fifth Century arid landscape to a Twentieth Century Manhattan nightclub is less than satisfactory but it is at least an ending of sorts. Needs must when the Devil drives!