Tourments

I had these words by Alex Epstein in mind when I left the theater. Before I went to watch Él I knew Hitchcock had taken a bit to draw Vertigo. Well, it's not simply a bit.

Buñuel's style is both graceful and low-key. It's a pity this made his work less obviously marvelous to masses. On the other hand if there is something lacking in Él this is a gripping suspense. Something Hitch mastered with his will to enthrall masses. Buñuel's directing is more on the side of actors for us to hesitate between judging the characters and just waiting for more... which is exactly the theme.

Bringing psychological torments to screen is definitely not easy a directing choice . It's a challenge for the upper-crust and I remember Hitchcock's Spellbound was not really convincing, neither was Fritz Lang's Secret beyond the door. Yet each brought something to be chewed for others to experiment.

In Mexico, the wealthy, religious and leery middle-aged Francisco Galván (Arturo de Córdova) is battling in the justice to retrieve the possession of real-estates that belonged to his ancestors in the beginning of the Twentieth Century. When he sees the young Gloria Milalta (Delia Garcés) in the church, he becomes obsessed by the woman, unsuccessfully courting and stalking her. He follows her and sees Gloria with her fiancé and his acquaintance, the engineer Raul Conde, having lunch in a restaurant. Francisco schedules a ball in his mansion and invites Raul and along the night, he seduces Gloria. They get married and in the honeymoon, Gloria discovers that Francisco is virgin and has a sick jealousy for her. Along the years, the emotionally unbalanced Francisco oscillates between a passionate husband and a disturbed paranoid until the day Gloria leaves him and he has a mental breakdown.

"El" is a very simple and melodramatic film of Luis Buñuel about sick jealousy and paranoia. The plot shows the usual trademark of this great director, with religious element and the surrealistic paranoia of the lead character in the church, but is not original like most of his features. Arturo de Córdova and Delia Garcés have stunning performances, giving credibility to their characters. My vote is eight.

Title (Brazil): "O Alucinado" ("The Hallucinated One")

Made in 1952, between "Robinson Crusoe" and "Wuthering Heights," this may not be one of Bunuel's major films, but it contains several of his key themes and recurring images, starting with the ceremonial washing and kissing of feet. The film also goes into the politics of submission and domination, the effects of long-term sexual repression, and -- of course -- sewing.

Bunuel understood obsession and was able to convey it on screen like no other director. As irrational as his characters can get (and Francisco gets plenty irrational in this film), Bunuel knows that we all have our hangups which seem normal to us, no matter how grotesque they may look to an outside viewer. (There's a reason why the alternate title for this film is "This Strange Passion.")

One of Bunuel's best films, and certainly the finest of his lesser-known work. An intense, gripping study of a man who goes from merely asshole to outright insane, perhaps driven just a bit by his fondness for feet (the film's alternate title is "This Strange Passion"). In a powerhouse performance by Arturo de Cordova, Francisco is jealous, irrational, impulsive, self-centered, paranoid, delusional, megalomaniacal, misanthropic and sadistic. Bunuel leaves it up to the viewer to imagine what he's doing to Julia as we hear her tormented screams echo through the mansion... or what he has in mind when he sneaks into her room with a rope, a razor blade and a pair of scissors. Bunuel isn't known for flashy cinematography, but he always knows exactly where to place the camera, and the film's visual style gets more and more noir-ish as Francisco descends deeper into his obsessive madness. There's a subversive quality and almost a black comedy to it, like a Wyler melodrama with a perverted twist. The film begins and ends in a church, a symbol of sexual repression and false ideals, and the brilliant final shot suggests how much it feeds into Francisco's psychosis.

As his most technically accomplished Mexican-period movie, and almost a mainstream one, this film can be an enjoyable first introduction into Buñuel's obsessions: the same ones that ruled the surrealistic movement. The underground psychological streams in the mind are finely expressed in this story of a pathological jealous and his victim. In his Mexican exile, Buñuel was forced to make "nourishing movies", that were the most conventional ones in his filmography, but he managed to smuggle his surrealistic ideals into all of them (even he could make the absolutely surrealistic "The Exterminating Angel").

Based on an autobiographic novel by Spanish fellow countrywoman Mercedes Pinto, this film is the vehicle for displaying many marvelous surreal moments. It can also be viewed as a brilliant clinical recreation of paranoid distress, but Buñuel recognized that the protagonist, Francisco Galván, although insane, had many of his own obsessions: his view of love as an absolute imperative, the violent impulses, the fetishism for female feet…The story shifts from one point of view to another, which is the only way to understand the "two stories" in psychotic disorders.

Part of the story and many of the ideas were used later by Hitchcock for his masterpiece "Vertigo (From among the dead)". It is difficult to say plagiarism when talking about cinema, but this would be one occasion for it. It is not coincidence that both directors share a taste for the expressive properties of objects (not only as Macguffin); as two reluctantly catholic directors, objects usually act as "sacraments" for their narrative. In "El" the church and its symbols are the background for the repression and the blooming of instincts; other Buñuel's stories may be more connected with religion than this one, but "El" shows a life absolutely permeated by the relationship of primary impulses ("eros" and "thanatos") with spiritual transcend ency. With churches as the setting of the key moments of the story (desire, love encounter, the urge for murder, disappointment), church is at the beginning and the ending of this story narrated by the man who said "Thank God, I'm an atheist".

Although was filmed in three weeks, in the midst of the limitations of Mexican film industry, the movie is close to perfection in formal terms. In contrast with his previous movies, in which a still camera was predominant, in this one the camera movements are constant. The performances and the choice of cast is the most accurate of the Buñuel's Mexican-period.