Viridiana

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.

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.

"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 great movie. It is an investigation of the human nature and attempts to tell an interesting story about the suppression of our inner instincts. Bunuel, once again, compares the morality that comes from inside us, i.e., the morality of the subconscious, against the morality which imposed by society and the various religious organizations.

Bunuel seems sacrilegious, but I think that his movie attacks false piety as opposed to the deeper mysteries of the Catholic faith. Viridiana in the movie is not considerate of her uncle's passion for her and that kills the old man. Her punishment comes later from the unworthy beggars. The moral of the story is that we'd better investigate our flaws and strengths before attempting any encounter with other members of the society. Nobody is perfect and there are different ways to help people out there effectively. Honest work is sometimes more effective than useless acts of charity. If we do not know our selves and we cannot understand others we may deeply hurt people we care for.

All these ideas came to my mind while watching "Viridiana". What a great movie it is. One of the great moments of the movie is a side by side viewing of the honest workers renovating the mansion and the unworthy beggars praying in the fields.

Buñuel emphasizes again that the rich take their perspective for granted and the poor initially literally don't know how to handle the opportunities thrown at their feet, and who can blame them? The rich in this film know how to control their subversive tendencies, because they are taught how to handle their position, their money and simply their manners. The poor and disabled are naively given opportunities and gradually make an unbelievable mess of it, without ever considering the (moral) implications of their actions. Viridiana is the kind soul who makes the naive mistakes, like helping the beggars in the wrong way.

Although this is the great Fernando Rey's (French Connection, Cet obscur objet du désir, and here speaking Spanish) first and shortest collaboration with Buñuel, it must be his most convincing performance. His character Don Jaime morally blackmails Viridiana accompanied by psalms. This delicately illustrates Buñuel's loathing of churches and convents (where Viridiana lived) that cannot prevent people from their sexual desires. A contrast is made with the beggars later in the film, who listen to Händel, Beethoven and Mozart without properly hearing what it is, but have fun and unfortunately take advantage of their newly acquired personal wealth.

The surrealism and magic realism will be presented again by Buñuel in later years (after 1966, and also in Ángel exterminador, 1962), but this film is one of Buñuel's subtlest and best acted and has a clear message without being superficial or pedantic. To what extent it is a parody on The Last Supper I don't know and also I can't figure out what this somnambulism (also in Tristana '70) should mean in religious terms. But Buñuel and cinematographer Jose F. Aguayo (also Tristana) delivered a worthy film that may be Buñuel's least outrageous but most realistic and aesthetically perfected film. 'Journal d'une femme de chambre' (Buñuel, 1964) is one film that comes close to that. Also, 'Charme discret de la bourgeoisie' and 'Ángel exterminador' seem to deal with a Last Supper in their own brilliant way.

9/10