El gran calavera

this is not an classical Buñuel film he does not use any metaphor. film belong to comedy genre but i thought that it was not funny and it was not a good movie if the director is not Buñuel this film get a point like 3 or 2.sparazitoiler*the story was very basic its about a rich man without desire of living and people surrounding himself that are parasite. one day brother of that man decide to do show how real life is going on and the games begin.* as i said before very basic story and you can add to rich poor love in it. we can think that is 195O but there are a lot of good movies in that time. in conclusion this film is not good.

A gem among comedies. Based on a play by Alfredo Torrado. Again an example of collaboration between Bunuel and scriptwriter/director/novelist Alcoriza and Alcoriza's wife Janet. The female touch is evident in the father-daughter relationship.

The film belongs to the lead actor Fernando Soler. Bunuel's touch in this film is not in the last shot as is often the case--here it is the opening sequence of Ramiro (actor Soler) in the jail sleeping with other poorer members of Mexican society as equals.

A well-made feel-good comedy from Bunuel.

Don Luis Buñuel made some movies because he needed the cash. Maybe this is one of them, because if he didn't like the result, he ignored them and pretended he didn't make them. The movie is very good though, and has several underlines. I like them all. Starting with Don Ramiro, hard worker and bon vivant who hates his relatives, because they live off him without working. He tries to reason with them, but the relatives, realizing they're about to kill the hen with the golden eggs, plot against him, making him believe he is bankrupt. Don Ramiro won't take this easily and tries to commit suicide (better dead than poor) but is rescued by an angel, Pablo, his neighbor, who not knowing what the family has planned, tells Don Ramiro what he knows, and Don Ramiro, now very upset and at the edge of the roof, literally, makes another plot to make his relatives reason, even if he has to kill them while trying! So they say I am bankrupt? I will make them work and pay for everything they eat! Pablo helps bringing food and getting little tasks for them to do, and Don Ramiro pretends he is also working, but he is actually enjoying seeing them work while he enjoys life to the fullest. Of course all this will make Pablo fall for Don Ramiro's daughter (Granados) who is also falling for him. This is one rare occasion to see together the Rojo brothers, Gustavo and Raúl. Andrés Soler also stars along with Maruja Grifell (Doña Prudencia's daughter), and even Luis Alcoriza shows up with a mother that looks more like a father to me!

The one excellent thing about this film is the music. Apart from the great and very Bunuellian finale, the film is negligeable. It is only interesting for being by Bunuel and his first film in 20 years, providing a ramp for his most interesting Mexican production, but the film has no charm, no cinematography, it's almost claustrphobically locked up indoors, the actors are all good, but, like in so many Bunuel films, the complex intrigue knots itself up into something of a mess. It is supposed to be funny, but it is not, except for the great ironic scene in the cathedral - here at last Bunuel proves himself.

Enjoyable knockabout movie that is ultimately more complex than the simple plot outline would suggest. There is not much of the Bunuel we have come to expect but then this is his first effort for almost twenty years and he must have been keen to get back into cinema. Clearly a pragmatic man he must have been aware he could soon enough get back to making what he wanted, once he had satisfied the money men he was bankable. Nevertheless there is plenty to enjoy here as much fun is had with the notion of being rich and lazy making you ill and poor and hardworking the opposite. Then there is the love interest and whether you can marry above/beneath yourself. There is a marvellous line towards the end when the said young lady is justifying going with the rich scoundrel instead of the poor, honest boy. She tells of how one may love her for her money but then the other hates her for it. As would be the case in subsequent Mexican efforts Bunuel paints an affectionate picture of the locals and is clearly happy in his surroundings.