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One of the finest Mexican films I have ever seen. The casting is excellent as each character is perfect for the role chosen. The film will leave you feeling that justice eventually does prevail. I am pleased that Ignacio Lopez Tarso is still with us and still acting. It is a real shame that the actress playing his wife left us so soon. The wife's love for her husband is so evident in the film as she is totally unselfish. The actor playing death is superb and will never leave you. I wish I could find the names of the actors that played the members of the Court because I believe they may be from Spain and I would like to look up their other credits. I highly suggest for you to see this film!!!!

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.

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.

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.

It might surprise people that the first Mexican movie ever nominated for Best Foreign Language Film had as its source a story by the Brothers Grimm. Roberto Gavaldón's "Macario" is based directly on "The Third Guest" by B. Traven (whose origins and identity remain a mystery). The title character is an indigenous woodcutter in colonial Mexico to whom Death - appearing as a humble peasant - gives water with curative qualities. But it turns out that the use of this water, even for the noblest purposes, has its consequences.

The era when "Macario" got released is known as the Golden Age of Mexican Cinema. I haven't seen many Mexican movies from that time, although I'd like to. The major themes here are class structure and the desire to keep living. 'Twas ever thus, I guess. While not a masterpiece, the movie does a good job moving the story along, with clever editing and camerawork, and fine acting. Sadly, Pina Pellicer (Macario's wife) died of a barbiturate overdose a few years after the release.

Adapted from socialist B. Traven's story of the same name, the film is a artistic masterpiece. The direction, acting are superb. The cinematography is moving and haunting. The trees, the sparseness of the village, even the expression on the actors' faces-all are moving-all are memorable.

Have you ever wanted anything in life, something you could just call your own? As Macario's wife admits to her husband she has also wanted something just for herself that she didn't have to share and gives him a turkey she stole that could have cost her her life so he can fulfill his desire to eat a turkey all to himself. For all of Macario's life he has always known nothing, but hunger as has his wife, his children and fellow villagers. However, Macario is a good man and cannot eat whole turkey without ultimately sharing. He is approached by the Devil, God, and what appears a very hungry man with whom does he share his turkey, but why?

Poverty, wealth, and racism all are shown here. The story takes place in Mexico during Spanish rule. Whereas the white Spanish ruling elite, shown to be greedy, cynical, arrogant, and inhuman, are wealthy and want for nothing; the local indigenous people, who maybe all honest and hard-working, are forced to starve and live in a dry, sparse desert with barely-thatched roofs, praying to God for justice rather than creating it. The same cinematographer that photographed Brunel's films in Mexico was also the cinematographer of this film. Perhaps, that's why it seems to be an odd mix combining the social criticism of Brunel's Los Olvidados along with the existentialism of Bergman's 7th Seal. Intellectually profound in its depiction of economic injustice in this world, it moves the viewer to comment. As the candle-maker tells Macario, "We are born to die …We spend most of our time dead." It is in contemplating death that we understand life in so far as we have only one; and it is this that makes us question injustice. The near to last scene is unforgettable. Few scenes are as memorable: J'Accuse, the 7th Seal, Ordet are the rare exceptions along with this film. It leaves is with 2 burning questions : What is life? Is it nothing more than a candle that burns for awhile then is spent? What is justice? In a Capitalist world can it be anything more than a concept that like an object can be bought and sold with money?

Yes, the plot outline is not lying, this story is basically about a man who gets the obstinate, obsessive desire to eat a turkey all by himself.

Macario is the stereotypical indigenous Mexican peasant - laconic, stone-faced, ignorant, and gullible, and while we come to find him a charming hero because he's clearly a good-hearted guy, his personality and simplicity don't change throughout the film.

In other words, the influence from Grimm's Fairy Tales and other such fables is palpable - a one-dimensional protagonist gets involved in a situation that leads to an entertaining but impactful lesson for the audience.

Here there doesn't seem to be a lesson, but the story is certainly entertaining and excellent as food for thought. The film leads one to contemplate on the nature of mortality, poverty, the purpose of life, and the vicious trap of poverty and ignorance.

Many of the performances are hammy, so the film is a bit silly and at times feels like a feature-length after school special (I once saw a made-for-TV movie about the Emperor's New Clothes and I remember getting a similar feeling to watching this). I found it humorous although I really can't tell whether it was meant to be so by the director (I have the feeling it was not).

My compliments to the José Gálvez, who plays Mexican Satan. I don't think I've ever seen such a delightful portrayal of the devil in film. Really seems like the kind of guy who would challenge a fiddler to a musical death match.

Honorable Mentions: Harold and Kumar Go to White Castle - another movie about a wild journey for the sake of satiating hunger.

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.

Ignacio López Tarso is super in this superior adaptation of the Traven story "The Third Guest". He and his wife (Pina Pellicer) are living an all but hand-to-mouth existence with their young family - who reminded me frequently of baby birds in a nest constantly looking to be fed. He collects and sells firewood to the local bakery, she takes in laundry and does mending work. It's whilst he is delivering his wood that he sees half a dozen plump turkeys being roasted in the bakery ovens for a local grandee. The smell and the sight of these sizzling birds leads him to vow that he will not eat again until he can devour an whole bird - all by himself! For days he declines his food, but a slight contretemps between his wife and one of her clients might just provide for his deliverance... Heading into the forest with his unexpected fayre he encounters three individuals who offer him varying degrees of "riches" if he will share. He shows wisdom until an emaciated character tugs too hard on his heart strings. His reward is a gourde of water from the spring of life. One drop of this will stave off death from even the most terminally ill - well it will, most of the time! He uses his newfound power sparingly at first, but soon he garners fame and fortune and the attention of the Holy Inquisition. Having survived his perilous trip through the forest, can he now survive the suspicions of his own race? There is a very basic, but hugely effective, visual effect that allows us to follow his journey with his newly arrived friend (Enrique Lucero) and the direction from Roberto Galvadón allows us to begin to appreciate, slowly, quite what choice the eponymous character has, perhaps unwittingly - perhaps not - chosen for himself. The score complements well, as does the general aesthetic of this film and I really did enjoy the mix of the fantasy, sacrifice and the social comment. It looks great on a big screen, but is well worth a watch on any screen.

this is truly a great, and rarely seen movie. it's beautifully photographed, wonderfully acted, and has the feel of a classic grimms brothers fairy tale (although this is too serious a movie for children). i was totally unfamiliar with the mexican film industry and basically only knew mexican wrestler movies, etc. this proves that there were and maybe, are, great movies coming out of mexico that deserve attention and prominence. great movie - 10 out of 10.

Writer B. Traven's, cinematographer Gabriel Figueroa's and film-director Roberto Gavaldón's 1960 masterpiece 'Macario' appears at first to be a wonder tail for children, a little fantasy - filled with marvelousness. But then, its poetry (albeit it never resigns from its esthetic) turns into a tragic dejection, and soon you realize that you are in the impossibility to step back. Life has trapped you, nobody looks out for you - death enters you when you're born, and you carry it around in your livers, your stomachs, your hearts. Each candle goes out by itself. 'Macario's daring and ruthless realism hits you sharply, suddenly - as with its first spoken dialogs and captivating scenes. All illusions, romances, sentimentalisms, understandings drop unexpectedly from your entrails and your skull... and surprisingly long time before your death.

Macario (Ignacio López Tarso), an impoverished wood-cutter dreams of being able to have an entire roast turkey to himself but when his wife (Pina Pellicer), who is worried that her obsessed husband will starve before eating anything less, cooks a stolen a bird for him, he is confronted by three supernatural entities, each of whom ask for a portion. When Macario finally agrees to share his bounty, he is rewarded with miraculous healing powers, which make him both riches and enemies, and eventually attracts the attention the Spanish Inquisition (who nobody expected). As Macario remains a decent fellow despite his abrupt rise in social status, the ending is a bit less predictable than usual for these kinds of fable. The black and white cinematography, dreamy and surreal at times, is striking and both López Tarso and Pellicer are very good (Pellicer was so pretty and fragile-looking (at least in the films in which I have seen her), I am always saddened thinking of her early tragic death). The film features much 'Day of the Dead' skeletal imagery that, despite being carvings and puppets, is quite creepy at times. Watched on-line with English subtitles.

It is not surprising that this film from 1960 became one of the greatest classics of Mexican cinema, a paramount production from its Golden Age. Very innovative, it is a fantasy drama which addresses hunger, social inequalities, the Catholic Church and it is inquisition. The hungry Macario will make decisions that will be decisive, concerning a turkey, the Devil, God and Death. By the way, I cannot help but mention a curious dark detail: every time Macario says he will not eat anything and prefers to starve than to eat a small portion, his children laugh happily because they will have a little more food. That was funny but also harsh!

Eerie supernatural tale, once considered Mexico's greatest film, and one that still holds up very well today, though it's hard to find a good quality copy of it. The story revolves around the poor and hungry woodcutter Macario who, on the Day of The Dead, does a favor for death and so is granted a healing gift that brings him wealth and prestige. But, of course, it was never going to be as simple and easy as that, and no such gifts come without consequences and costs.

The film feels very much like an ancient fable placed unaltered onscreen; a sort of cross between Bergman's Virgin Spring and The Singing Ringing Tree. There are some colorized versions going around, but this is one that really needs to be seen in black & white.

Such a weird and unnatural film. It seems very odd to me that the poor children instead of sharing the last bits of their food with each other they try to grab as much as they can each for themselves. They don't even care if their father gets a single bite, they're not even thankful if their father gives his last bite to them. They just eat it like pigs and demand more... But the worst part of it, is that they leave some food for the dead to "eat". I understand that it is their culture and religion even, but if they really believe all this, they should also believe that their ancestors see them struggle so they wouldn't mind at all if the family ate the food which was supposedly be left for them. And all that is just the beginning of the film... I admit it does get more interesting later on with it turning "supernatural", but I have no idea what's the point of it all. It doesn't seem that the protagonist had learned anything from all what has happened to him, neither does it even seem to matter if he did...