Viridiana

This film portrays the abysmal differences between people with different educations and senses of morality. At the same time, it is a commentary on the hopelessness of a society where no one understands why the status quo should be tampered with. No summary could really do this film justice since the visual impressions and symbols are just as important as the express message portrayed by the events.

But here goes: A novice is forced by circumstances to leave her convent and visit her uncle, falling under the influence of her world wise cousin. She tries to maintain her ideals by doing good works but is taken advantage of and despised by the very people she means to help.

Viridiana was the first film Buñuel filmed from exile and (so the story goes) the church was in an uproar and adamant that it be censored. Perhaps this is because none of the characters seem to give a fig about the teachings of the church except for the novice. Perhaps it is because one of the messages that seems clear is that the church is ineffectual in its efforts to improve the human condition. However, the depth of the story speaks more to the social condition in general -similar in all of Europe at the time- and the church was merely a part of that.

It is possible that a superficial viewing might interpret the characters to represent specific political factions from the era when the film was made but I believe that is an error. Even Franco, if we are to believe what we are told today, didn't personally see anything wrong with the film when he saw it and his order that all copies be destroyed was given in the interest of appeasing the church. People who appreciate quality film will be grateful that at least one copy survived the mass destruction by being sent to France.

Forty years on and `Viridiana' is one of the very few, almost unique, examples of classical Spanish cinema to have survived the turmoil of the latter half of the last century. It remains as a little light in the midst of the darkness of the Franco Régime, which promptly banned it, or as an insouciance to the Vatican, which promptly excomulgated everyone concerned with it.

Buñuel's genius is apparent in every frame: the eye for detail, nonetheless permitting that impromptu evanesqueness which lends exquisiteness to these memorable scenes, above which shines the `Last Supper'. And it is precisely this scene which gives one the impression that the real stars in the making of this film were the motley beggars taken in from the streets. Silvia Pinal and Francisco `Paco' Rabal are not outstanding in this piece; even the incomparable Fernando Rey is overshadowed by the band of social outcasts. The sheer poeticness so brilliantly captured by the camera roaming among the vagabonds is cinematographic exquisiteness carried to its extreme: every grimace, every wrinkled nose, the debauchery, is what makes the principal actors be no such thing, but secondary actors overwhelmed by the nuances and gestures of these `untouchables". Brilliant filming, indeed – whether intentional or not or whether this be only my personal interpretation after seeing this film three times in the last twenty five years, is of course open to debate.

Suffice just to mention Lola Gaos: (Tristana (1970) – also by Buñuel - is one of her other films worthy of mention, surprisingly accepted by the censor's blue pen). In the 70s her voice began to break up, such that in the end she lived out her last years in poverty, forgotten by the times and cinema makers, until hauled out of hiding for a last TV appearance, sardonic way of giving her a few pennies to eke out to the end of her existence, but by then (1989) her voice was so fragmented it was near impossible to understand her. Her throat-cancer was never treated adequately.

Luis Buñuel (`Thank God I am an atheist') has gone; Fernando Rey has gone; Paco Rabal died yesterday in an aeroplane flying over the English Channel, returning from the Montreal Film Festival where he received his last award…….

They leave `Viridiana' as testament to those historical and difficult times, an isolated exposé amid what was, for Spain, a cinematographical desert.

"Viridiana" and "Tierra Sin Pan" (a documentary) are two of the most cutting portraits of Spanish misery and poverty in the 20 that passed after 1936's Civil War. Buñuel had no mercy and put everybody in their place.

The pious Viridiana (Silvia Pinal, wonderful!) who leaves the convent to come to live with his uncle in the country. His uncle (Fernando Rey, magnificent!), a man defeated by life who lives in the past and, finally, suicides. His cousin (Paco Rabal, the man!), which come to the country house looking for his inheritance. The tramps that Viridiana takes in... Some of the best characters in the history of cinema, and some of the best sequences ever filmed (that one with the tramps celebrating such a crazy party).

A fierce look against Spanish society, against religion and against the human condition itself. I'd pay for watching the face of dictator Franco's censors when they watched "Viridiana". They could have Buñuel shot for that. Luckily, he went to Mexico.

Well, this is a movie to talk about for hours and hours... Anyway, you just watch it and prepare to feel what cinema's about.

*My rate: 10/10

This is a thoughtful and thought-provoking film initially banned in Spain and completely denounced by the Vatican . Although it was voted best Spanish film by professionals and critics in 1996 Spanish cinema centenary . It deals with the novice Angelic Viridiana (Silvia Pinal) who visits his uncle Jaime (Fernando Rey) in the mansion prior to taking her religious vows . Jaime is stunned by her remarkable resemblance to deceased spouse who passes away on their wedding night . Later on , there appears his nephew (Francisco Rabal). Meanwhile Viridiana attempts to help some local beggars .

This prohibited movie is widely considered a Luis Buñuel's masterpiece . It's a parable based on a Benito Perez Galdos' novel titled Halma concerning about a young nun full of illusions and kindness along with some tattered beggars . It is packed with some humor , hilarious situations , brooding drama , corruption and criticism to Catholic Church and useless altruism . The original ending of the film showed Viridiana knocking on her cousin's door, entering, and the door closing slowly behind her , this version was rejected by Spanish censors . After years of living in Mexico, Luis Buñuel was persuaded to make his first film in his native Spain since 1936 by the vanguard of young contemporary Spanish film-makers who admired his work . Buñuel returning his native country , Spain , by making 'Viridiana' but this film was prohibited on the grounds of blasphemy , then Buñuel with his screenwriter Julio Alejandro go back Mexico where realizes in low budget 'Simon of the desert' and also produced by Gustavo Alatriste . The script was initially approved by the Spanish authorities with a few minor changes. They had no opportunity to view the finished film until it played at the Cannes Film Festival where it won the Palme d'Or . Nevertheless they were sufficiently horrified by what they saw to ban the film. Splendid main cast gives superb acting as Fernando Rey , Francisco Rabal and Silvia Pinal as idealist ascetic ex-nun . Large secondary cast formed by ragged beggars as Lola Gaos , Jose Calvo , Jose Luis Martin , Joaquin Roa, and Maria Isbert ,daughter of the great Jose Isbert . It appears uncredited as a little girl Teresa Rabal , Francisco Rabal's daughter . Good and atmospheric cinematography by excellent cameraman Jose F. Aguayo . Religious and classic music score including ¨Haendel's Messiah¨ and the ethereal strains of Alelluya . The picture was originally realized by 'the maestro of Calanda' , Luis Buñuel's location of birth , and was immediately banned . Despite the government's massive efforts to confiscate all copies , some of them were exhibited and the movie won deservedly the Palme dÓr at the Cannes Film Festival . Nice strange story for Luis Buñuel aficionados , being hauled by some reviewers as one of his best films ever made . Rating : Above average, worthwhile watching.

Beautiful and devout Viridiana (Silvia Pinal in an impressive performance) is about to take her final vows as a nun, and enter a convent. At the urging of her Mother Superior she takes a short break to visit her estranged Uncle and benefactor Don Jaime (Bunuel regular, the always wonderful Fernando Rey). Reluctantly she does so thinking it will be the last time she sees him before devoting her life to God. Don Jaime, a complex man, has other plans for Viridiana - he wants to take her as his wife. What follows is unpredictable, fascinating and an almost perfect piece of film making. Highly controversial in its day, and accused of blasphemy, it may not be as shocking to our cynical, secular eyes, but it still packs a punch, and is highly recommended. One of Luis Bunuel's greatest achievements.