Viridiana (The Criterion Collection) [DVD]

This is the masterpiece of atheist Spanish film director Luís Buñuel. An unrelentless, devastating, unmerciful criticism of religion. Yes, it can be viewed as a social satire, a political vehicle, etc. That's what makes it a great film, that you can view it from different perspectives.To me the most valuable aspect of this film is the opportunity to see, as in a wide canvass, the soul and mind of this great atheist man. It is revealing that Buñuel took to the task of "proving" religion wrong and absurd with so intense passion and -I would even say- desperation. Because no one is more desperate than he who searches and can't find. But, as Unamuno would say to explain the angst of the author, it comes from seeking to believe with the reason and not with the life.The film depicts Spain's social condition pretty accurately in those mid-century years. Unamuno explains this aspect (though he wrote decades before Buñuel's work) as follows: "In France and Spain there are multitudes who have proceeded from rejecting Popery to absolute atheism, because 'the fact is, that false and absurd doctrines, when exposed, have a natural tendency to beget scepticism in those who received them without reflection. None are so likely to believe too little as those who have begun by believing too much.'"Another important aspect of the film is the way he depicts the poor. Helplessly incorrigible, lacking as much in money as in human virtues, and extremely ugly and repealing. It is very curious how Buñuel did not even allow any little space for sentimentality or candidness; I mean, there is no hero or anything even close to it. It's a terrible portrait of the human soul. I would say pessimistic, but I don't think Buñuel would agree. He would probably prefer sincere or realistic. The symbolism is so evident that any private school kid could figure it out, so forcibly paired are the scenes with their objects of criticism. And trying to make it so evident (and not as difficult as other of his surrealistic films) evidences his intensity of feeling, his anger, his hatred of all that Buñuel despises, religion. And not only Catholicism -it just happened to be Spain- but universal religion. Going back to the the poor in the film, Buñuel being a communist sympathizer, it is ironic that he doesn't show even a little mercy with his poor. I think the rich young man is a more admirable figure than any of his other characters. The female protagonist, the nun who gives up her vows being used only as a tool, cannot be expected to represent all nuns or all religious persons -it would be preposterous-. A case that in real life might happen isolatedly should not be used to prove a general rule. It is dishonest. But there is a correlation between his view of the economically poor and the Christian view:"For the poor you have with you always, but Me you do not have always." John 12:8Isn't there something of the same nature? So how can one conception of the poor lead Christians to love them nevertheless (knowing that they will always be around), and the furious atheist/socialist to despise them (maybe not to condemn them, because surely "society or the rich" would take the blame). Well, that question is for everybody to meditate on.I wish people like Buñuel would give Christ a chance. Unamuno, another great Spaniard, says: "Note the greater part of our atheists and you will see that they are atheists from a kind of rage, rage at not being able to believe that there is a God. They are the personal enemies of God." But -I say- how can you be an enemy of someone who does not exist?However, this is a great and splendid work of art. But now, ending with a quote from Rousseau: "Where is the philosopher who would not willingly deceive mankind for his own glory? With believers he is an atheist; with atheists he would be a believer. The essential thing is to think differently from others."Nevertheless, it moves!

The name Viridiana, also the name of the main character, is an appropriate one and one that encapsulates much of the film. In Spanish the verb 'virar' means to change course, usually used in a nautical sense but very appropriate here as well. We first see Viridiana as a virgin about to take her final vows as a nun. This is the first change. When she invited to her uncle's home she is soon the object of advances by the man since she bears a striking resemblance to his dead wife. He convinces her that, one night, he slipped into her room and raped her. She is now convinced she can never take her vows. This is the second change. Her new mission in life becomes an atonement to her god for the sin she believes she has committed. She picks up the poor, the derelict, the drunkards, the diseased and brings them home to live with her after her uncle kills himself in remorse. This is the third change. When, one day, she has to accompany her cousin to visit a lawyer to transfer title of the home to both of them, the former beggars take over the home, have a great time getting drunk and smash much of the belongings. She returns home to find her mission is a failure and becomes her cousin's lover. This is the fourth change.The second part of her name, Diana, refers to the old Roman goddess of the hunt and moon. According to G. Dumezil in "La Religion Romaine Archaique" (1974) Diana was also worshipped as a patroness of lower class citizens since her origins were among people Rome conquered early in its growth.The movie itself deals with two themes simultaneously. When it first came out the movie was banned both by the Catholic Church and the Spanish government under Gen. Franco. This was primarily because they viewed it as a direct attack not just religiously (the picture taken by one beggar including everyone wildly drinking and eating being a direct reference to the Last Supper) but politically in that the Franco regime and the Church had systematically ignored the plight of the poor since he came to power in 1939. Bunuel, through the action of the poor beggars, had made Madrid face the fact that a Spanish people ignored was a force capable of overthrowing the government.On a personal level the fall of Viridiana is a lesson in the shortcomings of closed-minded idealism. It illustrates that no theory or abstract vision held rigidly by anyone is realistic. Human nature needs to be taken into account or disaster will result. His views made Luis Bunuel both a champion of the poor and one well aware of the weaknesses of people.

Bunuel's films remain among the leading and truly subversive examples of 20th century cinema. And now that most movies are the product of rather large and shall we say committed to the mainstream entertainment corporations, any whiff of the subversive is typically squelched for, well, you tell me. So, we can only hope that someday soon more of his work -- perhaps even "The Exterminating Angel" -- will turn up on Criterion's list of newly restored masterpieces.Assuming you already know the film (why else would you be looking here?) it's enough to say that Criterion has done their usual and detail-oriented job in bringing sound and image and translations up to the optimal. The extras are actually worth having and worth watching. Combined with the booklet essay and Bunuel interview, this work is set solidly and clearly into its historic and artistic context.Of course, if you're not yet familiar "Viridiana" or the body of Bunuel's work, it's time to grow up and skip the distractions of various takes on da Vinci codes and risk some exposure to real ideas-- the kind that can change your way of thinking instead of simply reinforcing what you may already know.

Luis Buñuel ist ein Garant für gute Filme mit Geschichten, die meistens sehr provokativ sind.Wenn man bedenkt, dass der besprochene Film 1961 entstanden ist und (d)er ein (oder mehrere) Thema(en) beinhaltet, dass er die Story in einem Land gedreht hat, der alles andere als liberal war, kann und muß man ihn nur bewundern.Weil die Geschichte ziemlich einfach ist (wenn man sie erzählt, und doch sehr komplex), sollte man auf die Anspielungen aufpassen, die sich durch das ganze Werk mehr oder weniger versteckt zeigen.Viridiana (Silvia Pinal), eine Novizin, kommt zum Besuch zu ihrem Onkel, Don Jaime (Fernando Rey). Es sollte ein Abschied werden, denn als Nonne kann sie nur bei den besonderen Anlässen ihre Nächsten sehen.Don Jaime lebt mit der Haushälterin Ramona (Margarita Lozano) und ihrer Tochter Rita (Teresa Rabal) in einem großen Haus. Alles sieht vernachlässigt aus, Don Jaime kümmert sich nicht um seinen Besitz.Wir erfahren, dass seine Frau in der Hochzeitsnacht gestoben ist (am Herzinfarkt)..., Viridiana sieht ihr sehr sehr ähnlich. Man sieht ein Bild (nie ganz genau) auf der Wand.Der Onkel, der am liebsten klassische Musik hört (Händel...), manchmal spielt er an einer Hausorgel, hat alles von seiner traurigen Hochzeit aufbewahrt. Er sieht sich die Sachen an..., wird dabei sentimenta. Und verliebt sich in seine Nichte.Er weiht Ramona ein, die ihm helfen soll. Er will die Nichte heiraten. Wenn es nicht anders geht, dann...Mit einer List möchte er sie aufhalten. Sie sollte bei ihm bleiben.Als er einsieht, dass seine Liebe für Viridiana unmöglich ist, will er nicht mehr leben.Den Besitz bekommen Viridiana und der Sohn von Don Jaime, den er zwar anerkannt hat, doch nie zu sich geholt. Jorge oder Don Jorge (Francisco Rabal) trifft mit seiner Freundin Lucia (Victoria Zinny) ein.Die beiden sind nicht verheiratet (Viridiana wundert sich), Lucia geht bald fort. Ihr ist langweilig auf dem Land.Jorge arbeitet unermüdlich im Haus und auf den Feldern. Viridiana?, sie hat andere Pläne. Sie will den Bettlern helfen. Sie dürfen im Nebenhaus wohnen, bekommen das Essen, den Wein und alles andere. Ihr Leben soll angenehm sein. Nur beten sollen sie regelmäßig.Eine fast außerirdische Szene - auf einer Seite Jorge mit den Arbeitern, Bauern, Maurern, die fast immer arbeiten, auf der Anderer die Bettler mit Viridiana, die im Gras liegen, und zwar VOR und NACH dem Beten. Und die NICHTS tun!Jorge würde gerne mit Viridiana anbandeln, doch sie sieht nur ihre christliche Arbeit. Ramona ist aber auch eine Frau, "wenn sie etwas Schminke tragen würde, wäre sie schön"...so ungefähr sagt Jorge zu ihr.Wer macht jetzt "bessere" Arbeit? Was geschieht, wenn man den Menschen große "Nächstenliebe" zeigt und gibt, dabei aber vergisst, dass sie eine richtige Beschäftigung brauchen? Wenn sie nicht mehr betteln brauchen (was eine Arbeit ist), kommen die Gedanken nur so in die Köpfe. Zum Beispiel, es wäre schön im großen Saal des Hauses ein Bankett für sie allein zu geben/veranstalten...Was man dann auch macht.Viridiana ist eine Frau, die das Leben NICHT kennt. Im Kloster war sie behütet, sie hat gelernt, wie aus ihr eine Ordensschwester wird. Als sie in der Realität ankommt, kann sie mit den Gefühlen anderer Menschen nichts anfangen. Sie kennt die Liebe aus dem Gebet und glaubt, dies wäre genug oder sogar besser als die "Liebe", die man ihr zeigen möchte...Ob sie Angst hat vor dem Leben, kann man bei Buñuel nicht sagen. Er lässt viel Raum für unsere Interpretationen. Das muß er auch tun, wenn er den Film zeigen will...Spanien, 60.Jahre des 20. Jhr, man weiß, wie das Land damals funktionierte. Und da kommt Buñuel, damals um 60 Jahre alt, ein Mann, der sich traut dem ganzem Land, besonders der Kirche, seine/ihre Schwächen zu zeigen. Seine Arbeit ist subtil, aber auch agressiv. Er spart nicht mit ziemlich "starken" Szenen..., seine Personen haben alle viele Schwächen, die er perfekt in die Szene setzt.Eine Novizin, ein Onkel, ein junger Mann, ein Bettler..., ein Mädchen...,alle geben uns etwas von ihrem Leben, alle verstecken viel. Die Dichotomie ist einfach genial...Man soll den Film sehen. Es bedarf besondere Worte um die Geschichte zu erzählen. Aber, die hat man nicht, weil sie mit den Dialogen, Szenen, mit Gesten fest verbunden sind. Und das sieht man, wenn man sich den Film anschaut. Auch nach fast 60 Jahren. Die Schauspieler*innen kennt man. Es liebte es mit einigen zu arbeiten. Fernando Rey, ach, wie gut er spielt! Auch andere sind in einer Weise mit ihm verbunden..., sie vertrauen ihm und umgekehrt!Einer der besten Filme von Buñuel! Dabei sind seine Filme sowieso etwas besonderes. Nach Jahren erinnert man sich auf die Details und verneigt sich vor dem Meister!Wie Ray vor mir, 5 Sterne, mehr gibt es nicht...könnten es aber sein!

Only the second Luis Bunuel film I've seen, after Los Olvidados. Surprisingly watchable, you don't need to be a Bunuel aficionado to appreciate it.The Criterion treatment makes it an even better experience.Highly recommended!

Film del 1961 prodotto in Messico/Spagna, diretto da Luis Buñuel e tratto dal romanzo "Halma", di Benito Pérez. Viridiana/Silvia Pinal è una giovane novizia, in procinto di prendere i voti, che si reca a far visita allo zio Don Jaime/Fernando Rey. Questi, una sera le chiede di indossare l'abito nuziale della moglie morta e poi, con la complicità della governante Ramona/Margarita Lozano, la droga e la porta in camera da letto. Il mattino dopo, le fa credere (anche se poi ritratta) di averla violentata. Viridiana fugge, ma suo zio si impicca, ed è costretta a ritornare, rinunciando ai voti e col proposito di dedicarsi a opere di bene: accoglie in casa un gruppo di mendicanti, nonostante il parere contrario del cugino Jorge/Francisco Rabal, nel frattempo arrivato alla fattoria. Un giorno, rimasti soli, i mendicanti entrano nella casa e si scatenano in una cena trasformata in un'orgia. Viridiana e Jorge li sorprendono e riescono a scacciarli. Viridiana, amareggiata, bussa alla porta di Jorge e lo trova con Ramona in atteggiamento ambiguo, ma sceglie di unirsi a loro. Ancora una volta, il sarcastico e surrealista Buñuel colpisce nel segno. Si tratta di uno dei suoi film più importanti, osannato dalla critica, e una delle opere più dissacranti e complesse della sua filmografia. L'anticlericalismo del film si esprime soprattutto nella famosa sequenza dell'Ultima Cena dei mendicanti, disposti come nell'affresco di Leonardo. Il procedimento stilistico di Buñuel, secondo il critico Giorgio Cremonini, parte dalla "riproduzione fedele, minuziosa, entomologica dell'oggetto... il significato nascosto (la seconda realtà...) viene così immesso da B. in oggetti-immagine ai quali apparentemente non compete, e ciò attraverso una resa figurativa dell'oggetto che sembra mimetica e non lo è". In effetti, gli oggetti assumono nuove valenze, come, ad esempio, la corda con cui gioca la figlia di Ramona, che servirà a Don Jaime per impiccarsi. E sono presenti le tematiche abituali del regista, quali il feticismo, le allusioni esplicite o enigmatiche, il feticismo, l'atteggiamento critico o blasfemo nei confronti della religione. Una grande, straordinaria opera cinematografica. Palma d'oro al Festival di Cannes, il film fu premiato anche al Festival di Berlino. Il dvd, rimasterizzato in HD a cura di A&R Productions (la resa in bianco e nero e la definizione sono straordinarie), è in videoteca dal 28 febbraio.

En su momento marco la vuelta de Buñuel al cine español, aun con Franco en el poder. Luego se creo una gran polémica al ganar el festival de Cannes, la primera película española que lo hacia , y luego prohibirse su exhibición en España. Ahora solo recomendar que la vean y la posean, maravillosa. Estéticamente maravillosa y como siempre un Buñuel un torrente de ideas y sensaciones. Fernando Rey cumbre y la Silvia Pinal también. Crónica intemporal de esa España negra que es la esencia de nuestro país. Sin discusión una de las cumbres del cine universal y desde luego junto al Sur de Victor Erice las cimas del cine español. Inolvidable la secuencia de la "ultima cena"

While `Viridiana' contains some well known aspects of L. Buñuel's movies, like fetishism or voyeurism, its main target is, like in `L'Age D'Or', religion and more particularly Catholicism with its gospel of pity and altruism. This gospel is personified in an aspirant-nun, played sublimely by the Mexican actress Silvia Pinal. But, faced with utterly disgraceful behavior on the part of the poor people she wanted to help, she becomes on the tones of Haendel's music an anti-Messiah.For the Catholic Church this movie is fundamentally a blasphemy, symbolized by its hellish parody of the Last Supper (the picture by Leonardo Da Vinci) with the apostles painted as vile and vicious paupers and beggars.Another of L. Buñuel's more controversial viewpoints is his misogyny expressed by Don Jaime's illegitimate son, Jorge: `all cats are grey at night'.With a formidable casting, Silvia Pinal being the jewel of the team, this movie didn't lose even a shadow of its subversive bite at Christian morality.A must see for all lovers of world cinema.