Estasi di un delitto

Perhaps my favorite of Buñuel's Mexican years. As a child, Archibaldo de la Cruz willed the death of his young, sexy nanny through the device of a magical music box. As an adult, he finds this box at a pawn shop, and it awakens the exciting feelings he had as he stood over the corpse of his nanny checking out her exposed thigh. He decides to become a serial killer, but it never quite works out that way. Every person he sets out to kill ends up being murdered by another's hand. Actually, I shouldn't say "person," as Archibaldo's violent emotions only arise towards women. There is some heavy Catholic symbology to the picture, and the violence towards women obviously arises from the twisted mores of Catholicism. His first intended victim as an adult, for example, is a brazen tramp who openly expresses her wish to seduce him to get back at her husband. Buñuel had perhaps the most impeccable sense for creating finales, and the one here is as odd and remarkable as any other. Watch the two actions Archibaldo performs with his cane. I'm not 100% sure what they signify, but I know that must be of the utmost importance. Ensayo de un crimen should be watched back to back with Buñuel's 1953 film, Él, also about a man being driven insane over his wife because of his strict religious beliefs. 10/10.

Handsome and well-heeled Archibaldo has been convinced from boyhood that he possesses a music box that has the power to kill. He embarks upon a career as a serial murderer in which his intended victims are ravishing looking females but Fate continually thwarts his lethal intentions and his murders never get past the fantasy stage.

The most notorious scene in the film and one of which only this director is capable, is where Archibaldo consigns to the flames of a kiln a wax model of one of his potential victims who has slipped through his grasp. This macabre episode has acquired a tragically ironic overtone as the woman who has modelled for the dummy is played by Miroslava Stern who was cremated shortly after filming completed, having taken her own life. Bunuel was of course to employ a 'prosthetic limb' to great effect in 'Tristana'.

Working within the budgetary limitations of Mexican cinema, director Luis Bunuel has fashioned a stylish, sophisticated and technically polished piece that contains some delicious performances and bizarre Bunuelian moments that linger long in the memory.

Although condemned by circumstances to being innocent of murder Archibaldo still feels the need to 'confess' to the police. He is politely dismissed by a detective with the words:"thinking about murdering someone does not constitute a crime." This will strike a chord with most of us I am sure!

Yet another perfectly constructed story by Buñuel, but this time the pace of the film just doesn't feel right. As a viewer i usually have found myself trapped between the unceasing spanish dialogues. The portray of a mentally ill killer should've been more distant from the common reality, if not within the dialogues, then through the usage of scenery and theatrical production, which in this case was monotone and non-corresponding to a thrilling-tempting view

I don't understand why some reviewers call "Criminal Life of Archibaldo De La Cruz" (1955) - "minor" Bunuel. The only "minor" about this (and many his films) is its running time, only 89 minutes but all his films are enigmatic, odd, charming, and always brilliant. I consider Bunuel one of the best and original filmmakers ever and nothing he had done is minor for me.

"Criminal Life of Archibaldo De La Cruz is B/W comedy of Don Luis' Mexican period which is surreal, disturbing, erotic and funny satire about a perverted young wealthy man, an amateur sculptor. Since he was a boy, and one evening witnessed the sudden death of his young attractive governess and became sexually exited by it, Archibaldo De La Cruz dreams of committing a perfect crime of an attractive woman to recreate the feeling but something always prevents him from fulfilling his dreams. It does not mean that the deaths would not occur -it is just that Archibaldo can't take a credit for them. As he often did with his even unlikable and perverse characters, Bunuel gives some of his own sexual fantasies, fetishes, and dreams that he freely admits to Archibaldo thus making him more human and sympathetic.

I have often cited this as my favourite Bunuel film and one of my favourite films of all. Watching it again after a period of some years, I am surprised that it seems so light and amusing instead of dark and dangerous. I suppose this is partly because when first seen the misogyny, the gleefulness at the prospect of killing a woman, is so shocking, that we notice less the playfulness. Whereas on a subsequent viewing we are less affected, having some idea how things pan out. Is this the only Bunuel film with a seemingly happy ending? There are still, of course, many shocking moments, like the bloody/sexy death of the woman looking after him as a child, the whole business concerning the mannequins (that seems burned in my memory for ever) and the most surprising early death of the nun/nurse. Maybe it's partly that when I watched this in my youth I rightly saw it as stunningly original and displaying conduct contrary to that shown elsewhere, whereas now the old cynic in me has been exposed to much more and is smiling throughout with barely a pause for a gasp. Always going to be fun to watch though.