The Immortal Story

Based on a short story by Karen Blixen (under the Isak Dinesen pseudonym), The Immortal Story is about a wealthy merchant in the 19th Century who is obsessed with the story of a sailor who was paid by a rich man to impregnate the man’s wife wanting to make the legend come true. Written for the screen, directed, and co-starring Orson Welles, the film is a study of obsession and a man’s need for a fantasy to come true. Also starring Jeanne Moreau, Roger Coggio, Norman Eshley, and Fernando Rey. The Immortal Story is a ravishing and haunting film from Orson Welles.

Set towards the end of the 19th Century of Macao, the film revolves a wealthy merchant who tells a story to his accountant about a rich man pays a sailor to impregnate his wife as it’s become a legendary story among traveling sailors. Wanting to make the legend come true to fulfill his wishes, he sends the accountant to find a sailor and a woman to make it come true yet there’s some complications along the way. Orson Welles’ screenplay has a straightforward narrative that play into the obsession of the merchant Mr. Clay (Orson Welles) and his need to have this legend become reality just before he is to die. His accountant Elishama Levinsky (Roger Coggio) is tasked to find both the sailor and a woman to play these roles as he would find the latter in Miss Virginie (Jeanne Moreau) whose father was a partner of Clay until Clay cheated him out of his fortune. Miss Virginie is reluctant to take part yet she decides to do it out of revenge towards Clay while Clay would find a young sailor in Paul (Norman Eshley) who also agreed to do it for money.

Welles’ direction is stylish in some of the compositions and settings he creates in the film as it was largely shot in the small Spanish town of Chinchon with many of the interiors scenes shot at Welles’ home outside of Madrid. While there aren’t a lot of wide shots in the film in favor of medium shots and close-ups, Welles does maintain this larger-than-life presence in Mr. Clay as a man who is aware that he’s going to die and wants a final wish. There is an intimacy into what Welles want as well as aiming for something simple in the setting while not delving too much into stylistic shots. Even in some of the camera movements that happen late in the film when Miss Virginie and Paul meet sort of aware of what is going on and what they have to do. Even if they know what is at stake despite the emotional baggage both carry in their assignment. Overall, Welles crafts a somber yet riveting film about a man trying to make a legend come to life in his final days.

Cinematographer Willy Kurant does brilliant work with the film’s colorful cinematography as it adds a lush yet grimy look to many of the exterior scenes as well as the interior scenes to play into the mood that Clay is dealing with. Editors Yolande Maurette, Marcelle Pluet, Francoise Garnault, and Claude Farny do excellent work with the editing as it is largely straightforward in terms of capturing the drama and mysterious elements of the film. Set decorator Andre Piltant does fantastic work with the look of the interiors inside Clay’s home as well as the homes of Miss Virginie and Levinsky. The dresses by Pierre Cardin are gorgeous for what Miss Virginie wears to play into her lifestyle but also to tap into what she lost from her childhood. The sound work of Jean Neny is terrific for its low-key approach to sound that include some natural moments that play into the locations as well as a few moments during its third act. The film’s music mainly consists of piano pieces by Erik Satie that is performed by musicians as it adds to the film’s melancholic and dramatic tone as it is a highlight of the film.

The film’s incredible ensemble cast that includes an un-credited cameo appearance from Fernando Rey as a narrator/merchant who is seen briefly early in the film also includes a terrific performance from Norman Eshley as the sailor Paul as a poor man who hadn’t spoken to anyone in a year as he is given a chance to do a job for money with hopes of having a ship of his own. Roger Coggio is excellent as Elishama Levinsky as Clay’s accountant who is tasked with finding the people for this legend to come to life as he deals with the job he’s given as well as the well-being of Miss Virginie and Paul. Jeanne Moreau is radiant as Miss Virginie as a woman, whose father was Clay’s partner until he was cheated out of his fortune by Clay, who reluctantly takes part in Clay’s plan in an act of revenge while coping with everything she’s lost. Finally, there’s Orson Welles in a brilliant performance as Mr. Clay as a merchant who is aware that he’s facing death as he wants a legend to come to life where Welles maintains that larger-than-life persona as well a melancholy into someone who had everything but feels unfulfilled.

The Immortal Story is a sensational film from Orson Welles that features a mesmerizing performance from Jeanne Moreau. Along with the rest of its ensemble cast, gorgeous visuals, a hypnotic music score, and a simple yet entrancing premise. It’s a film that maintains an air of simplicity into a man’s desire to make a legend come to life as well as a story of loss and regret. In the end, The Immortal Story is a rapturous film from Orson Welles.

Orson Welles Films: Citizen Kane - The Magnificent Ambersons - The Stranger (1946 film) - The Lady from Shanghai - Macbeth (1948 film) - Othello (1952 film) - Mr. Arkadin - Touch of Evil - The Trial (1962 film) - Chimes at Midnight - F for Fake - Filming Othello – The Other Side of the Wind

Related: Orson Welles: The One-Man Band - The Eyes of Orson Welles - They’ll Love Me When I’m Dead - The Auteurs #69: Orson Welles: Part 1 - Part 2

© thevoid99 2018

Chimes at Midnight

Based on five different plays by William Shakespeare and Holinshed’s Chronicles by Ralph Holinshed, Chimes at Midnight is the story of a knight and his relationship with a prince who is forced to make a decision on whom he should be loyal to. Written for the screen, starred, costume designed, and directed by Orson Welles, the film is an unconventional take on the work of Shakespeare with Welles playing the role of Sir John Falstaff as it explores friendship and loyalty. Also starring Keith Baxter, Margaret Rutherford, John Gielgud, Jeanne Moreau, Norman Rodway, Marina Vlady, Fernando Rey, and narration by Ralph Richardson. Chimes at Midnight is a rapturous and evocative film from Orson Welles.

The film is set during the final days of Henry IV of England (John Gielgud) as it revolves around his son who spends much of his time with the knight Sir John Falstaff into a world of mischief as he is primed to be next in line for the throne despite opposition from relatives who want to have Edmund Mortimer released as he is the true heir to the throne. It’s a film that explores not just destiny but also a young man torn between two figures who are guiding him into manhood. Orson Welles’ screenplay is filled with a lot of the monologues and character study that William Shakespeare is known for in the plays that Welles would compile into the script. All of which play into the idea of identity and all of the glories an identity could bring where Falstaff is at the center of everything as he wants to be an influence to Prince Hal (Keith Baxter) knowing he is next in line. Yet, Hal does want to get the approval of his father where he would try to win it during a battle against a rebellion where he would go up against a prominent knight. Unfortunately, he would also see what Falstaff wants as it adds to this internal conflict that Hal would endure.

Welles’ direction is definitely stylish for the air of theatricality that he would maintain throughout the film as it would play into this world of 15th Century decadence with an air of 20th Century energy. Shot on location in Spain, Welles would use the desert landscape to play into the scope of the world that the characters are in. Notably with the castles and the tavern where much of the action occurs in the latter as it is a place where Falstaff and his band of brothers can enjoy themselves. While Welles would use some wide shots of the tavern to showcase the liveliness whether it’s in a big group dance or in a conversation scene involving Falstaff and Hal as there’s characters in the background such as a young page (Beatrice Welles), the tavern hostess Mistress Quickly (Margaret Rutherford), and the prostitute Doll Tearsheet (Jeanne Moreau). He would also create some close-ups and medium shots to capture some of the emotional aspects in the film including shots in the battle scenes.

The battle scenes is a highlight as it has a lot of action but also some offbeat humor as it relates to the armor that Falstaff is wearing which is designed by Welles who would also be the film’s costume designer. While there is a lot of stylistic elements that Welles would include in the film, he does maintain the theatricality needed in scenes where there are these long monologues such as the one Henry IV gives in the aftermath of the battles as it play into his own mortality as well as what the future holds. The third act is where Welles shines as a filmmaker where he would use some low camera angles to play into Hal’s acceptance into the role he is in but also what he had to sacrifice as it relates to Falstaff and his influence. Notably as what Falstaff would have to see when Hal becomes king as it would mark the end of something that he is forced to accept as well. Overall, Welles creates an intoxicating yet compelling film about a young man trying to cope with his destiny and the influence of a decadent knight.

Cinematographer Edmond Richard does brilliant work with the film’s black-and-white photography to play into the look of some of the interiors inside the castles as well as the scenes at the tavern and the exterior shots set at night. Editors Fritz Mueller, Elena Jaumandreu, and Peter Parasheles do excellent work with the editing as it is stylized with some jump-cuts in its approach to the action and conversations involving different characters. Production designer Mariano Erdozia and set decorator Jose Antonio de la Guerra do amazing work with the look of the tavern as well as some of the interior of the different castles including Henry IV’s palace. The sound work of Luis Castro is terrific for the way the sound is captured in the tavern and at the castles along with the chaos during the battle scene. The film’s music by Angelo Francesco Lavagnino is superb for its orchestral bombast and flourishes along with some somber string pieces to play into the drama.

The film’s incredible cast feature some notable small roles and appearances from Tony Beckley and Patrick Bedford in their respective roles as Falstaff’s friends Ned Poins and Bardolf, Walter Chiari as Justice Silence, Michael Aldrige as another friend of Falstaff in Pistol, Jose Nieto as the Earl of Northnumberland who rebels against Henry IV, Alan Webb as another country justice official in Justice Shallow who is a friend of Falstaff, Fernando Rey as the Earl of Worcester that is Northnumberland’s brother that is trying to get his cousin Edmund Mortimer in line for the throne, Beatrice Welles as Falstaff’s page who helps him with a few duties, Marina Vlady as Hotspur’s wife Kate Percy, and Norman Rodway as Northnumberland’s son Hotspur who is trying to aid in the rebellion where he would face off against Hal. Margaret Rutherford is fantastic as Mistress Quickly as the tavern hostess who is trying to maintain order in her tavern which is a place of escape for Falstaff and his friends.

Jeanne Moreau is excellent as Doll Tearsheet as a prostitute who lives in the tavern that is a lover of Falstaff as she deals with the chaos around him as well as spout insults at others while displaying elements of sentimentality over what will happen to Hal. John Gielgud is incredible as King Henry IV as a man that is trying to deal with the rebellion as well as Falstaff’s influence on his son where he would deal with his own mortality in a monologue that is just engaging to watch. Keith Baxter is brilliant as Prince Hal as a young man torn between his duties as prince but also the influence of Falstaff whom he sees as a father figure where he wonders if he’s being used. Finally, there’s Orson Welles in a phenomenal performance as Sir John Falstaff as a knight that is literally larger than life as a man that is the embodiment of decadence where he hopes to become a nobleman unaware that times are changing with him having no role in this new world.

Chimes at Midnight is a sensational film from Orson Welles. Featuring a great cast, gorgeous visuals, a sumptuous music score, and a script that meshes many of William Shakespeare’s play into a study of loyalty, identity, and ambition. It’s a film that display many of Welles’ hallmarks of grand visuals to play into a man who tries to influence a younger man into a world of decadence instead of duty. In the end, Chimes at Midnight is a tremendous film from Orson Welles.

Orson Welles Films: Citizen Kane - The Magnificent Ambersons - The Strangers (1946 film) - The Lady from Shanghai - Macbeth (1948 film) - Othello (1952 film) - Mr. Arkadin – Touch of Evil - The Trial (1962 film) - The Immortal Story – F for Fake - Filming Othello – The Other Side of the Wind

Related: Orson Welles: The One-Man Band - The Eyes of Orson Welles - They’ll Love Me When I’m Dead - The Auteurs #69: Orson Welles: Part 1 - Part 2

© thevoid99 2017

2016 Blind Spot Series: Seven Beauties

Written and directed by Lina Wertmuller, Pasqualino Settebellezze (Seven Beauties) is the story of an Italian soldier who escapes from the army during World War II only to be captured by the Germans as he reflects on his life while trying to survive imprisonment. The film is a study of a man dealing with his situation in a world where he deals with the many roles he has played in his life. Starring Giancarlo Giannini, Fernando Rey, and Shirley Stoler. Pasqualino Settebellezze is a gripping yet evocative film from Lina Wertmuller.

The film is told in a back-and-forth narrative about an Italian who has been captured by the Germans during an escape from the army as he tries to survive his time in a concentration camp. At the camp, he endures torment while he reflects on his past into the events that got him there when he killed one of his sister’s boyfriends who was a pimp and put her into prostitution. The journey that Pasqualino (Giancarlo Giannini) would take would be an arduous one as he started off as a charmer who demanded respect while working for a local don during Fascist-era Italy. Upon his troubles where he would be in trial, set to a mental institution, and later be forced to serve in the army in World War II. Pasqualino would endure moments that are inhuman as the film’s script plays into what he encounters but also the sense of horror inside the concentration camp as he tries to find a way to survive. While there’s moments in Pasqualino that aren’t honorable due to how he treats women including his sister as well as a patient at the hospital.

Lina Wertmuller’s direction is very entrancing not just for the compositions that she creates but also in how visceral the images and situations are throughout the film. The film opens with this chilling sequence filled with stock footage of the war that is filled with cities being destroyed and men being killed all to narration by a man who says these words accompanied to anachronistic music that just adds to its dark tone. The film then meshes with something that could feel like stock footage and then turn real as Wertmuller’s camera is always in the action for the scene where Pasqualino is running around the woods with only a fellow soldier to join him. The usage of hand-held cameras for those scenes early in the film along with close-ups and medium shots play into the sense of terror but also humorous moments in the first act where Pasqualino and Francesco (Piero Di Iorio) are trying to find shelter only to be captured by the Germans.

The scenes set in Naples are much looser with an air of comedy but also display a world that Pasqualino felt free in as he is oblivious to what is really happening under the role of Benito Mussollini and the Fascists at the time. Once the film’s second act partially takes place in the concentration camp, it takes on an entirely different look and tone. The usage of wide and medium shots along with some intricate tracking and crane shots adds to the vast look of the camp but also in how horrifying it is. Even in scenes of violence where Wertmuller pulls no punches as there’s a scene early in the film where Pasqualino and Francesco watch a line of people being executed by the Nazis while some of the moments in the camp are even more gruesome. There is also a very disturbing scene where Wertmuller creates this air of sexual dominance where Pasqualino tries to seduce the camp’s commandant (Shirley Stoler) who hates Italians and wants him to fuck her despite how ugly and obese she is. It’s a moment that would mark a major change in Pasqualino as it would display some of the inhumanity he encounters during a dark era of war as he would also take part in it. Overall, Wertmuller creates a harrowing yet majestic film about a man dealing with consequences and terror during World War II.

Cinematographer Tonino Delli Colli does amazing work with the film‘s cinematography from the lush beauty of the interior/exterior scenes set in Naples to the more haunting and low-key lights for the scenes in the woods and the more stark tone of the camp. Editor Franco Fraticelli does excellent work with the editing as it is mostly straightforward with some jump-cuts and other striking transitions to play with the film‘s back-and-forth narrative. Production/costume designer Enrico Job, with set decorator Roberto Granieri and art director Veljko Despotovic, does fantastic work with the look of the sets for the scenes in Naples and at the prison camp along with the lavish costumes the women wear in Naples.

The sound work of Mario Bramonti is brilliant for the atmosphere it creates for not just some of the scenes set in Naples but also in mental institution and at the prison camp that just adds this sense of terror and discomfort. The film’s music by Enzo Jannacci is incredible for its usage of organs and rock-based instruments for the film’s opening sequence as well as some orchestral pieces for some of the dramatic moments in the film.

The film’s superb cast include some notable small roles from Barbara Valmorin as the commandant’s secretary, Francesca Marciano as Pasqualino’s fiancee, Mario Conti as the pimp whom one of Pasqualino’s seven sisters wants to marry, Lucio Amelio as a lawyer representing Pasqualino for his trial, Ermelinda De Felice as Pasqualino’s mother, and Robert Herlitzka as a Socialist prisoner Pasqualino would meet on his way to the mental hospital. Enzo Vitale is terrific as Don Raffaele who mentors Pasqualino into respectability and would help his family when Pasqualino is being sent away. Elena Fiore is wonderful as Pasqualino’s sister Concettina who would put her brother into trouble by wanting to marry her pimp and become a prostitute much to her brother’s dismay. Piero Di Iorio is fantastic as Francesco as a fellow soldier who escapes with Pasqualino only to endure some horrific abuse at the prison camp as he tries to rebel.

Shirley Stoler is excellent as the prison camp commandant as this very large woman who is so grotesque in her appearance as well as the things she would make Pasqualino do to save himself. Fernando Rey is amazing as Pedro as an anarchist prisoner who spouts ideas that are against all forms of Nazism and Fascism as he tries to create chaos at the camp. Finally, there’s Giancarlo Giannini in a phenomenal as Pasqualino Frafuso as an every man who starts off as a charming man that can get things his way only to commit murder and then have his life fall apart as he endures torment, humility, and anguish as it’s a performance for the ages from Giannini.

Pasqualino Settebellezze is a tremendous film from Lina Wertmuller that features an incredible performance from Giancarlo Giannini. It’s a film that explores not just some of chaos of World War II and the terror of concentration camps but also a man encountering some of the worst aspects of humanity. In the end, Pasqualino Settebellezze is a spectacular film from Lina Wertmuller.

Lina Wertmuller Films: (The Lizards) - (Let’s Talk About Men) - (Rita the Mosquito) - (Don’t Sting the Mosquito) - (The Belle Starr Story) - The Seduction of Mimi - (All Screwed Up) - Love and Anarchy - Swept Away (1974 film) - (A Night Full of Rain) - (Blood Feud) - (A Joke of Destiny) - (Softly, Softly) - (Camorra (A Story of Streets, Women and Crime) - (Summer Night) - (As Long as It’s Love) - (The Tenth One in Hiding) - (Ciao, Professore!) - (The Nymph) - (The Blue Collar Worker and the Hairdresser in a Whirl of Sex and Politics) - (Ferdinando and Carolina) - (Too Much Romance…It’s Time for Stuffed Peppers)

© thevoid99 2016

Tristana

Based on the novel by Benito Perez Galdos, Tristana is the story of a young woman raised by a don as her adopted daughter and later his wife as she seeks to find her own voice upon meeting a young artist. Directed by Luis Bunuel and screenplay by Bunuel and Julio Alejandro, the film is an exploration into the life of a woman who tries to find her identity as an adult as she is played by Catherine Deneuve. Also starring Fernando Rey, Franco Nero, and Lola Gaos. Tristana is a chilling yet evocative film from Luis Bunuel.

The film is a simple story about a woman who is raised by a nobleman after the death of her mother as she grows to be his adopted daughter and later his wife. Yet, Tristana finds her life with Don Lope Garrido (Fernando Rey) suffocating as she seeks to find her own voice while Don Lope is unaware of a world that is changing where Tristana falls for the artist Horacio (Franco Nero) who would show her a world outside of the don yet she still needs him where she becomes ill some years later. It’s a film that explores a woman’s identity and her search to find herself. The film’s screenplay by Luis Bunuel and Julio Alejandro does have a unique structure where its first half is about Tristana as a woman in this relationship as she also is surrounded by the maid Saturna (Lola Gaos) and her deaf-mute son Saturno (Jesus Fernandez) as the latter has a crush on her.

Upon her meeting with Horacio, there’s something in the second half that seems to get lost in terms of its narrative where the second time Tristana and Horacio meet, they’re already having their affair. It’s obvious there’s some details that Bunuel and Alejandro cut out from the book to the script as well as the fact that there’s a lot of time-jumping which sort of confuses the story though it is set largely in 1920s Spain. The narrative does pick up steam in the third act where Horacio and Don Lope meet again where they’re careful around each other for Tristana but complications would emerge as it all plays to what Tristana wants to do. Especially as she’s a woman who had been pulled in many directions where she finds herself back in square one all over again.

The direction of Luis Bunuel does have an element of style but is also very intimate for the way he portrays life of a woman in 1920s Spain. Notably as he is always has his camera fixed on Tristana as she is someone who feels lost as she needed Don Lope as he always been a father to her. The compositions are quite simple in the way Bunuel showcases Tristana’s world where there’s not a lot of colors in her world where it’s a mixture of dark colors with white as there’s very little vibrancy in the film’s look. Even as Bunuel would create some strange dream sequences to play into whatever fate Tristana has for her as there’s some melodrama that occurs as well as some eerie suspense towards the end as it plays to everything Tristana went through in her journey to find herself. Overall, Bunuel creates an extraordinary film about a woman’s search for her identity.

Cinematographer Jose F. Aguayo does excellent work with the film‘s cinematography to display the palette that Bunuel wants while using some low-key lights for the scenes set at night. Editor Pedro del Rey does amazing work with the editing with its sense of style that includes some montages for Tristana‘s nightmares. Production designer Enrique Alarcon and set decorators Luis Arguello and Rafael Borque do superb work with the set pieces to play into the period of locations and homes while Arguello and co-costume designer Rosa Garcia do wonderful work with the period costumes that include the dresses that Tristana wears. The sound work of Bernardo Fronzetti is terrific for some of the sound effects that occur in the film as well as some of the moments that play out on location.

The film’s brilliant cast include some notable small roles from Fernando Cebrian as Dr. Misquis, Antonio Casas as Don Lope’s friend Don Cosme, and Jesus Fernandez as Saturna’s deaf-mute, trouble-making son Saturno who always like to do crazy things. Lola Gaos is excellent as Don Lope’s maid Saturna who is this conscience of sorts in the film despite her frustrations toward her son as she also oversee everything that Tristana and Don Lope do. Franco Nero is terrific as Horacio as a young artist who falls for Tristana as he tries to give her a different life only to deal with Don Lope’s power. Fernando Rey is fantastic as Don Lope as this nobleman who loves and cares for Tristana but also has a sense of control for her as he needs her but also knows how much she needs him. Finally, there’s Catherine Deneuve in a sensational performance as the titular character as a young woman trying to find her identity while being pulled left and right over what to do while becoming disillusioned and lost over the decisions she’s made in her life.

Tristana is a marvelous film from Luis Bunuel that features a radiantly mesmerizing performance from Catherine Deneuve. Along with notable supporting work from Fernando Rey, Franco Nero, and Lola Gaos, it’s a film that explores the world of womanhood as well as a woman finding her identity. Though it is flawed, it is still an engaging film that features some of Bunuel’s surreal trademarks to display a woman trying to find herself. In the end, Tristana is a majestically rich film from Luis Bunuel.

Luis Bunuel Films: Un Chien Andalou - L’Age d’Or - Land Without Bread - (Gran Casino) - (The Great Madcap) - Los Olvidados - (Susana) - (La hija de engano) - (Mexican Bus Ride) - (A Woman Without Love) - (El Bruto) - (El) - (Illusion Travels by Streetcar) - (Wuthering Heights (1954 film)) - Robinson Crusoe (1954 film) - (The Criminal Lives of Archibaldo de la Cruz) - (El rio y la muerte) - (Cela S’apelle l’Aurore) - (Death in the Garden) - (Nazarin) - (La Fievre a El Pasao) - (The Young One) - Viridiana - The Exterminating Angel - Diary of a Chambermaid - Simon of the Desert - Belle de Jour - (The Milky Way) - The Discreet Charm of the Bourgeoisie - (The Phantom of Liberty) - (That Obscure Object of Desire)

© thevoid99 2013

The French Connection

Based on the book by Robin Moore, The French Connection is the story of two New York City detectives who go on the hunt to bust a French smuggling ring in their city. Directed by William Friedkin and screenplay by Ernest Tidyman, the film is an exploration into how two narcotic officers try to bust a smuggling ring through their own unconventional tactics while dealing with those who are targeting them. Starring Gene Hackman, Roy Scheider, Fernando Rey, Tony Lo Bianco, and Marcel Bozzuffi. The French Connection is a chilling yet entrancing thriller from William Friedkin.

In Marseilles, a criminal named Alain Charnier (Fernando Rey) is planning to smuggle a large shipment of heroin to New York City with his accomplice Pierre Nicoli (Marcel Bozzuffi) and a famous French TV actor in Henri Devereaux (Frederic de Pasquale) to help out. Meanwhile, undercover narcotic agents Jimmy “Popeye” Doyle (Gene Hackman) and Buddy “Cloudy” Russo (Roy Scheider) are in Brooklyn watching over a drug transaction as they capture a young man who reveals where the drug connection comes from. Later at a bar, Doyle and Russo eye a man named Salvatore “Sal” Baca (Tony Lo Bianco) and his wife Angie (Arlene Farber) as they were sitting at a table with mobsters as the two follow them where it becomes clear that Baca is operating a business behind their diner. Learning about their criminal records, Doyle is convinced that something is happening as they notice the appearance of famed mob lawyer Joel Weinstock (Harold Gray) with Baca.

After Doyle’s informant reveals about a large shipment of heroin coming to New York City, Doyle and Russo go to their supervisor Walt Simonson (Eddie Egan) to wiretap and follow the Bacas about what they’re doing. Simonson brings in federal agent Mulderig (Bill Hickman) to the case as he and Doyle have an intense dislike towards one another. With the cops watching Baca, Doyle notices Charnier for the first time as he tries to follow him yet Charnier is fully aware of what is going on as he decides to toy with Doyle. With Baca concerned about the trade as he learns he’s being watched, Charnier decides to make some moves by getting Nicoli to get rid of Doyle. Yet, Doyle learns that he’s being targeted as he and Russo go on the case to follow Baca where they see him switch cars as Doyle believes something is in that car that will help make or break the as he goes after Charnier.

The film is about a couple of NYC narcotic agents trying to discover a smuggling ring led by a French criminal who is masterminding everything. Yet, they deal with all sorts of things as it becomes clear that not only does this mastermind is aware of their every move but he becomes a greater challenge to the police where he would do whatever it takes to make they screw up. For Popeye Doyle, it’s all about trying to stop a drug trade from happening and getting this mastermind and take him to justice. What happens is that he finds himself taking on the greatest challenge of his career.

Ernest Tidyman’s screenplay has a very unique approach to the narrative where its first half moves back and forth from France to New York City where Charnier is planning everything while Doyle and Buddy Russo are doing their jobs and eventually discover about this smuggling ring that’s going to happen. Doyle and Russo are men who are willing to bring down the drug trade as they would also do things that often has fellow cops and other questioning their tactics. Still, it brings in results as they go by instinct as they’re aware that not everything is as simple as it seems. By uncovering this smuggling ring that’s about to happen, they take their time to see how it plays out where things become much more complicated in the second half.

Notably as Charnier finally arrives in the U.S. where he becomes aware that there’s cops following him yet he is someone who is willing to play along and do whatever to piss them off. He knows that the American partners he’s working with are scared yet he is the most calm as he can deal with a situation and is willing to do anything to get rid of the problem. By targeting Doyle, Charnier eventually realizes that he’s facing an opponent that is determined to do whatever it takes to go after Charnier. The film’s climatic scene involving the transaction and the police becomes one of the most chilling moments where it is about a showdown between Doyle and Charnier and who will outwit who.

William Friedkin’s direction is truly mesmerizing in the way he presents the film from the opening scene in Marseilles, France where a cop tries to go after Charnier only to lose and then cuts to New York City to establish what kind of cops Doyle and Russo are. Friedkin starts the film off very slowly to see how Charnier discusses his plans as it then goes to America where Doyle and Russo watch someone to see what he’s doing as they realize something is up. While the film is shot largely on location to maintain a sense of realism through hand-held cameras as it includes a few running chase scenes. It does have this air of intimacy to see how Doyle and Russo work together and the relationship they have where Russo isn’t as aggressive as Doyle while Doyle is more determined making their relationship unique.

The film’s second half is more intense as it involves a lot of following how Charnier and Doyle try to outwit each other in a scene at a subway station. It is one of the most intriguing moments in film that doesn’t require a lot of stylish cutting. Then comes one of the film’s most unforgettable moments where an assassin tries to kill Doyle as Doyle goes after him leading to one of the most gripping and intense car chase scenes ever. It’s all about Doyle trying to go after this train that is above him to capture the killer where it’s all about what Doyle isn’t trying to hit where he would nearly get killed in the process. This would eventually lead to this elaborate presentation where Doyle and Charnier would finally come face-to-face once again yet the results would eventually show something that would be complicated. Overall, Friedkin creates a gripping yet exhilarating suspense film that just refuses to play by the rules.

Cinematographer Owen Roizman does excellent work with the film‘s photography from the sunny look of Marseilles to the more grimy look of early 1970s NYC in its nighttime scenes. Editor Gerald B. Greenberg does brilliant work with the editing to utilize methodical cuts for its slow, suspenseful moments while using more stylish cuts for the film‘s car chase scene. Art director Ben Kasazkow and Edward Garzero do terrific work with the look of Charnier‘s home in France to the look of the hotels he lives in while Doyle lives in a more grimy apartment.

Costume designer Joseph Fretwell III does nice work with the costumes from the street clothes of Doyle and Russo to the more refined suits of Charnier. The sound work of Theodore Soderberg and Christopher Newman is fantastic to play out the suspense from the intimacy of the conversations to the chaos that occurs in the chase scene. The film’s music by Don Ellis is wonderful for the way it plays off its suspense with its piano and low-key orchestra to build things or to take charge in the intense moments.

The casting by Robert Weiner is amazing for the ensemble that is created as it features some notable small roles from Benny Marino as Boca’s cousin, Ann Rebbot as Charnier’s wife, Patrick McDermott as the drug chemist testing the heroin, Harold Gray as mob lawyer Joel Weinstock, Arlene Farber as Boca’s wife Angie, Frederic de Pasquale as the French actor who works with Charnier unaware of what he’s carrying in the car, and Eddie Egan as Doyle and Russo’s superior Walt Simonson. Bill Hickman is excellent as the federal agent Bill Mulderig who criticizes Doyle and Russo’s tactics as he often goes into blows with Doyle. Marcel Bozzuffi is wonderful as Charnier’s hitman Nicoli who is aware of how things go wrong while Tony Lo Bianco is very good as the low-level criminal Sal Boca who deals with phone taps and other issues that he feels could jeopardize the deal.

Fernando Rey is superb as Alain Charnier as a man who is the mastermind behind the smuggling ring as he finds a worthy opponent in Doyle as he does whatever he can to outwit in the most charming of ways. Roy Scheider is great as Buddy Russo who is the more professional of the two detectives as he tries to keep Doyle in tact while backing him up when he knows something isn’t right. Finally, there’s Gene Hackman in a magnificent performance as Popeye Doyle as a detective whose unconventional tactics has gained him the ire of some people yet he always bring results as he faces his greatest challenge in Charnier while doing whatever it takes to do what is right.

The French Connection is an outstanding film from William Friedkin that features incredible performances from Gene Hackman, Roy Scheider, and Fernando Rey. The film is definitely among one of the great suspense-thrillers of the genre that features one of the most unforgettable chase scenes in cinema. It’s also a thriller that doesn’t play by the rules while keeping the audiences intrigued by everything that is happening. In the end, The French Connection is a tremendous film from William Friedkin.

William Friedkin Films: (Good Time) - (The Birthday Party) - (The Night They Raided Minsky’s) - (The Boys in the Band) - The Exorcist - Sorcerer - (Brink’s Job) - Cruising - (Deal of the Century) - To Live and Die in L.A. - (Rampage (1987 film)) - (The Guardian (1990 film)) - (Blue Chips) - (Jailbreakers) - (Jade) - (12 Angry Men (1997 TV film)) - (Rules of Engagement) - (The Hunted (2003 film)) - Bug (2006 film) - Killer Joe

© thevoid99 2013

The Last Days of Pompeii

Based on the novel by Edward Bulwer-Lytton, The Last Days of Pompeii is the story about a centurion who returns home to Pompeii as he goes after thieves who had killed his father. Upon his search for the masked thieves, he discovers that a group of Christians are being accused just as Pompeii’s days are dwindling. Directed by Mario Bonnard and Sergio Leone and screenplay by Leone, Sergio Corbucci, and Ennio de Concini. The film marks the directorial debut of Sergio Leone who would later reinvent the Western in the 1960s. Starring Steve Reeves, Christine Kauffman, and Fernando Rey. The Last Days of Pompeii is a good and engaging film from the duo of Mario Bonnard and Sergio Leone.

Returning home from his service in Palestine, a centurion named Glaucus (Steve Reeves) hopes to meet his father as he sees a young woman named Ione (Christine Kauffman) lose control of her chariot as he saves her. On his way home, Glaucus encounters a young thief named Antonius (Angel Aranda) who was about to be punished until Glaucus helps him deal with the Praetorian guard Gallinus (Mimmo Palmara). Arriving at his home, Glaucus discovered that his father was murder with a cross symbol on the wall as he vows revenge on the killers. During a night with his friends, Glaucus decides to crash the party of council head Ascanius (Guillermo Marin) as he gets into a fight with Gallinus who tries to rape the blind servant Nydia (Barbara Carroll).

After his friend Marcus (Mario Berriatua) was killed when he tried to get into the Temple of Isis based on evidence given by Antonius, Glaucus wonders what is going on as Christians are being accused of the killings. When Gallinus hears about Nydia’s allegiance to the Christian faith, she is shocked when Gallinus knows what is happening as Ione goes to the Christian service with Nydia realizing that it’s not them. The Christians, including Nydia, are captured as Ione reveals to Glaucus about what she knows as he goes to Rome to reveal what he knows to the council. Instead, he is stopped by hooded men who attack him as he barely escapes with his wounds to the home of Ascanius. While Glaucus heals, Antonius arrives at the home revealing some startling information about who is leading these killings where the two confront the culprit.

Suddenly, Glaucus learns that things become more complicated as he’s accused by Ascanius’ mistress Julia (Anne-Marie Baumann) of murder as the High Priest of Isis in Arbaces (Fernando Rey) condemns Glaucus to be sentenced to death with the Christians. Just as Glaucus decides to fight for the Christians, all of it would be shaken up by an event that would change the face of Pompeii.

The film is essentially the story about a man seeking revenge for his father’s death as he learns about a conspiracy to accuse Christians of his father’s murder. With the help of a councilman’s daughter and a young thief, he learns about a plan to rid of the Roman Empire as he later has to fight for those who have been accused of murder. It’s a simple premise that does have a traditional structure of storytelling along with a few twists. Yet, it’s a story that is often quite predictable in terms of the schematics that is expected in a genre like this. Notably in the twists though it does reveal the motivations into why the antagonists want to get rid of Rome. It eventually culminates in a showdown in the arena where Glaucus has to defend the Christians that is then followed by the event that would shake Pompeii to its core.

Doing a lot of the direction for the film is Sergio Leone as the film definitely bears a lot of the visual hallmarks that he would provide later on his westerns. Though the film is credited partially to Mario Bonnard who became ill during the production. The direction definitely has amazing use of the widescreen format as well as very chilling scenes of violence such as the film’s opening sequence where Leone definitely shows his penchant for brutal violence through some amazing establishing shots. The direction also has some intimate moments and grand set pieces that is typical of the swords-and-sandal genre that includes this amazing 15-20 minute climax in the end where the crowd runs in chaos due to a catastrophic event. Overall, Leone and Bonnard craft a fine film that is entertaining despite the flaws in the script.

Cinematographer Antonio L. Ballestros does nice work with the film‘s colorful Cinemascope photography to capture the lush colors for many of the film’s interiors along with some stylish lighting for some of the film’s nighttime interiors. Editors Eraldo Da Roma and Julio Pena do some terrific work with the editing to capture some of the film‘s suspense along with more rhythmic cuts for its action scenes. Production designers Ramiro Gomez and Aldo Tommasini do great work with the set pieces to create the world of Pompeii with its homes and temples.

Costume designers Duilio Cambellotti and Vittorio Rossi do some wonderful work with the costumes from the armored uniforms the soldiers and guards wear to the robes many of the female characters wear. The special effects work of Dino Galiano is quite good for some of the visual effects stuff that happens in the film‘s big climax towards the end of the film. The film’s music by Angelo Francesco Lavagnino is excellent for its soaring and bombastic orchestral score to play up the sense of drama and action that occurs in the film.

The film’s ensemble cast is pretty good though there aren’t many standout performances as many of the actors play mostly parts that are very typical of the genre. Performances from Mario Berriatua as Glaucus’ friend Marcus, Carlo Tamberlini as the Christians’ leader, Guillermo Marin as Ione’s father and council head Ascanius, Angel Aranda as Antonius, Barbara Carroll as the blind Nydia, Mimmo Palmara as the slimy Gallinus, and Anne-Marie Baumann as Ascanius’ mistress Julia are quite fine in the roles that they play. Fernando Rey is excellent as the devious high priest Arbaces while Christine Kauffman is terrific as Ione who tries to help Glaucus in proving the innocence of the Christians. Finally, there’s Steve Reeves in a superb performance as Glaucus where he has this great physical presence that makes him fun to watch although his attempts to emote aren’t very good as the dubbing of his voice makes him sound like a whiny John Wayne.

The Last Days of Pompeii is a pretty good film from Mario Bonnard and Sergio Leone. It’s a film that is fun to watch for its sense of action and period setting while it features a lot of the visual hallmarks and plot ideas that Leone would inject into his future films. It’s a film that Leone fans would definitely would want to seek out to see where he would get his idea to frame certain scenes as it does have moments that are quite captivating to watch. In the end, The Last Days of Pompeii is a stellar film from Mario Bonnard and Sergio Leone.

Sergio Leone Films: The Colossus of Rhodes - A Fistful of Dollars - For a Few Dollars More - The Good, the Bad, & the Ugly - Once Upon a Time in the West - Duck, You Sucker! - Once Upon a Time in America

Related: Once Upon a Time: Sergio Leone - The Auteurs #16: Sergio Leone

© thevoid99 2012

The Discreet Charm of the Bourgeoisie

Directed by Luis Bunuel with a script co-written with Jean-Claude Carriere, Le charme discret de la bourgeoisie (The Discreet Charm of the Bourgeoisie) is the story about a group of upper class friends trying to have a dinner as they’re interrupted by surreal events. During these events, personalities begin to unfold during the course of the day. Starring Fernando Rey, Paul Frankeur, Delphine Seyrig, Stephane Audran, Bulle Ogier, Jean-Pierre Cassel, and Michel Piccoli. Le charme discret de la bourgeoisie is a whimsical yet mysterious film from Luis Bunuel.

A dinner party at the home of the Senechals as a foreign ambassador named Rafael Acosta (Fernando Rey) arrives with his friend Francois Thevenot (Paul Frankeur), Thevenot’s wife Simone (Delphine Seyrig), and her sister Florence (Bulle Ogier). Only Alice Senechal (Stephane Audran) is at the house unaware that there’s a party as her husband Henri (Jean-Pierre Cassel) isn’t home. They all decide to go to eat somewhere else unaware that the restaurant is closed only to discover why. Henri later apologizes for his absence as he invites Acosta and Thevenot for lunch only to be interested in having sex with his wife as the guests later leave as they meet Bishop Dufur (Julien Bertheau) who asks to be their gardener.

Attempts to eat and get together become troubling as they deal with interruptions from soldiers, associates, and other things. Even as they encounter men talking about weird dreams or memories and such. Rafael is dealing with political issues including a female terrorist (Maria Gabriella Maione) while Dufur becomes part of the party realizing something weird is happening.

The film is essentially about a group of bourgeoisie friends trying to have dinner together and have fun. Yet, they are continually interrupted by strange events or happenings that is going on around them. Even as the ladies try to have a simple tea party where there’s a lot of things going wrong. At the same time, there’s various people such as a lieutenant and a sergeant both recalling strange dreams or memories. At the same time, realities become blurred as the dinners seem more confusing and abstract. Luis Bunuel and co-screenwriter Jean-Claude Carriere create a story that is a very loose story that relies on not just repetition but also humor.

Bunuel’s direction is very entrancing from the repeated images of the people walking on a road in the middle of the French countryside to the intimacy he captures in the dinner scenes. Yet, he also plays up the surrealistic tone of the film by creating scenes where dreams are shot in a world that is artificial with fake backdrops intentionally shown. At the same time, Bunuel allows the camera to be engaging with some close-ups and wide shots to capture the world of the Senechal house as well as the places they go into such as the home of a colonel (Claude Pieplu). In scenes where there’s some expositions about the situations, Bunuel chooses to have strange sounds to cover all of that dialogue as if he doesn’t want to hear what they’re saying. Overall, Bunuel crafts an imaginative yet exhilarating film that is very funny and intriguing in its surrealism.

Cinematographer Edmond Richard does a wonderful job with the film‘s colorful cinematography from the gorgeous, naturalistic look of the daytime exterior scenes to the posh look of the interior scenes at night. Editor Helene Plemiannikov does a great job with the editing in creating a film with a leisured pace and straightforward cuts while playing along with its surrealist tone by utilizing stylistic cuts.

Art director Pierre Guffoy does an amazing job with the art direction from the home of the Senechals to the places they encounter. Notably the surrealistic sets that appears in dreams that play up the film’s idea of reality. Costume designer Jacqueline Guyot does a fantastic job with the closes, notably the dresses for two of the women in the film along with gowns for Simone that was created by Jean Patou. Sound mixer Jacques Carrere does an excellent job with the sound work from the intimacy of the dinner scenes to the chaos for some of the conversation as it blares over the dialogue.

The cast is definitely phenomenal as it features appearances from such Bunuel regulars as Marguerite Muni as a peasant woman and Michel Piccoli as a minister. Other notable small roles include George Douking as a dying gardener, Maria Gabriella Maione as the terrorist, Milena Vukotic as the Senechal’s maid, Claude Peiplu as a colonel, and Francois Maistre as an inspector. Another notable small but brilliant role is Julien Bertheau as a bishop who wants to be a gardener while revealing a story about his parents’ death. Bulle Ogier is excellent as the youthful yet intelligent Florence, the younger sister of Alice Thevenot who often feels like she’s not equal with everyone else because of her youth. Paul Frankeur is really good as Francois Thevenot, a man who is trying to get everyone to have dinners while trying to convince people to go to his place to eat his caviar.

Jean-Pierre Cassel is great as Henri Senechal, a man who also tries to get the dinners going while he is often more interested by having sex with his wife than having a gathering with his friends. Stephane Audran is wonderful as Henri’s wife Alice who often not ready for the party or trying to organize things while she befriends the bishop. Delphine Seyrig is brilliant as Simone Thevenot, Francois’s wife who is often trying to get the ladies to have some their own time together while having flirtatious moments with Rafael. Finally, there’s Fernando Rey in a fantastic performance as the ambassador Rafael Acosta who has a lot in his mind while wanting to have dinner and eat as he often engages in conversations with his friends.

Le charme discret de la bourgeoisie is a superb yet captivating film from Luis Bunuel. Featuring a great ensemble cast led by Fernando Rey and Delphine Seyrig, it is a film that plays with the idea of reality along with Bunuel’s fascination with surrealism. Among the films that Bunuel has done in his long yet glorious career, this film is truly among as one of his best. In the end, Le charme discret de la bourgeoisie is a mesmerizing yet intoxicating film from the late, great Luis Bunuel.

Luis Bunuel Films: Un Chien Andalou - L'Age d'Or - Land Without Bread - (Gran Casino) - (The Great Madcap) - Los Olvidados - (Susana) - (La hija de engano) - (Mexican Bus Ride) - (A Woman Without Love) - (El Bruto) - (El) - (Illusion Travels by Streetcar) - (Wuthering Heights (1954)) - Robinson Crusoe (1954) - (The Criminal Live of Archibaldo de la Cruz) - (El rio y la muerte) - (Cela S'apelle l'Aurore) - (Death in the Garden) - (Nazarin) - (La Fievre a El Pasao) - (The Young One) - Viridiana - The Exterminating Angel - Diary of a Chambermaid - Simon of the Desert - Belle de Jour - (The Milky Way) - Tristana - (The Phantom of Liberty) - (That Obscure Object of Desire)

© thevoid99 2011

Viridiana

Originally Written and Posted at Epinions.com on 5/29/07.

One of Spain's greatest and controversial artists, Luis Bunuel was a film director whose films of surrealism, religion, and imagery has captured the imagination of many. Yet, during the Spanish Civil War in 1936, Bunuel left Spain to sought artistry only to find freedom 10 years later in Mexico. During that period, he would make acclaimed films like Los Olvidados (The Forgotten Ones), El (This Strange Passion), Ensayo de un Crimen (The Criminal Life of Archibaldo de la Cruz), and Nazarin in 1958. In 1961, Bunuel finally makes a return to Spain during the time of the Franco where he made one of his most controversial films about a nun trying unsuccessfully to help the poor entitled Viridiana.

Written by Bunuel and Julio Alejandro, Viridiana tells the story of a nun who is sent by her convent to visit her uncle. The image of the nun reminds the uncle of his deceased wife. The visit shakes the nun's idealism as she hopes to do good in helping the poor. Directed by Bunuel, the film explores religion and its strictness as well as dark behaviors in some of its characters towards an innocent young woman. Starring Silvia Pinal, Fernando Rey, and Francisco Rabal. Viridiana is a superb yet controversial masterpiece from the legendary Bunuel.

Viridiana (Silvia Pinal) is expected to take her vows in the next few days until her Mother Superior suggests she should visit her uncle whom she hasn't seen in a long time. Her uncle Jaime (Fernando Rey) is living alone with a maid, her daughter, and a farmer as Viridiana decides to make the visit for a few days. Upon arriving, she meets the maid Ramona (Margarita Lozano) and her daughter Rita (Teresa Rabal) as Viridiana looks eerily like her late aunt. Jaime's newfound obsession of his wife and how his niece looks like her brought some troubling behaviors as Ramona watches. Noticing her often strict behavior and dedication to her faith, Jaime makes a plan to have her stay a bit longer. On Viridiana's final night, he attempts to seduce her but only receive an insult from his niece. Ramona drugs her later on as Jaime's attempt to seduce while asleep fails again.

With Viridiana finally leaving and learning about the truth of what happened last night, Jaime's guilt takes over as he feels he's sinned and does a final sinful act. Viridiana is then forced to come home to learn about what her uncle has done. With Viridiana now running the house with Ramona, Rita, and their farmer. Viridiana hopes to redeem herself by not returning to the convent and make her uncle's home into something that would help the poor. Taking on a group of beggars, she decide to help them while Jaime's estranged son Jorge (Francisco Rabal) arrives to become the new Don. With girlfriend Lucia (Victoria Zinny), Jorge hopes to bring the farm back to shape. Unfortunately, Jorge feels irritated by the beggars Viridiana has taken in while feeling tense with her. Lucia departs as Jorge finds himself attracted to Ramona.

When Jorge decides to leave town with Viridiana, Ramona, and Rita to conclude some business matters, the beggars decide to get into the house and enjoy a moment of debauchery until Jorge and his company return. The moment causes shockwave's as Viridiana's faith is now shaken to the core.

While the film reveals troubling themes such as incest, faith, and debauchery, the film is really about an innocent young woman whose good intentions are shaken to the core as she ends up questioning her own idealism. Even in a world that is cruel and indifferent to her faith. The film also explores moments of debauchery where although the beggars aren't necessarily bad people, they have a desire to live the rich, carefree life that Jorge and his late father had. There, it destroys everything that Viridiana had intended which is followed by a very horrific, sinful act that destroys her spiritually and emotionally. Then there's some of the film's sexual content which is done in a suggested way. Even in the film's final scene suggested something that was indeed Bunuel's intentions.

The direction that Bunuel made is not just observant but also filled with cynicism on faith, especially Catholicism at the time of Franco-era Spain. Largely because of how the repression of the government at that time caused the sense of alienation among the beggars. Even when the spiritual ideals of Viridiana is clashed in one wonderfully edited sequences with the newfound, industrious attitude that Jorge had. Then there's the infamous dinner sequence which includes a spoof of the Last Supper sequence that is followed by debauchery at its most unbridled. There, Bunuel captures anarchy in its purest form. It was there where the film, at that time, caused a lot of controversy followed by what would happen towards the end. The result is a powerful picture by Bunuel.

Helping Bunuel in his unique yet surreal vision is cinematographer Jose F. Aguayo whose black-and-white photography is exquisite in some of the film's exterior sequences and interior scenes. Yet, some of the camera work in showing the shadows is amazing as well as the close-ups to reveal the emotions and shock. Editor Pedro del Rey does amazing work in the film's editing, notably the scene of Viridiana's prayer cut back-and-forth into the moments of industry to convey her lack of realism. Production designer Francisco Canet does some wonderful work in creating the film's rich look in the home of Don Jaime's. Sound engineer Aurelio Garcia Tijeras does excellent in work in capturing the sound to contrast what's going on and where the scene's at. Composer Gustavo Pittaluga brings in an operatic score that is played on record throughout the film to convey the film's sense of emotion and debauchery in the third act.

The film's cast is wonderfully assembled with great performances by Jose Calvo, Jose Manuel Martin, Luis Heredia, Joaquin Roa, Maria Isbert, and many others playing the beggars whose moments in the film are a highlight. Victoria Zinny is fine in a small role as Jorge's frustrated girlfriend while Teresa Rabal is great as Ramona's young daughter Rita. Margarita Lozano is in excellent form as the loyal Ramona whose shift of servitude changes as she finds herself attracted to Jorge in which, she is allowed to be herself. Francisco Rabal is great as the charming yet cynical Jorge who is willing to find some kind of power, even as he tries to seduce both Ramona and Viridiana. The late yet legendary Fernando Rey is great as Jaime. A man whose surreal state of mind over his wife's death and guilt causes him to question his own morality and persona. Though it's a small, supporting role, Rey is in fantastic form.

Finally, there's the legendary Silvia Pinal in one of her great performances. Pinal brings a lot of restraint to her role as this innocent young woman unaware about the real world. Pinal's also exudes sexuality with her amazingly gorgeous looks though she only shows a bit of skin throughout the entire film. Her character goes through the biggest amount of development and through this restrained, very non-dramatic performance, it feels natural and just right. It is clear that while she is playing the title character, it's Pinal's performance that is the heart of the film.

When Bunuel was asked to return to Spain by Francisco Franco to make a film suitable for his country, Bunuel said yes but when he presented the resulting film Viridiana with plans to premiere at the 1961 Cannes Film Festival. Franco was extremely angry and had the film banned for many years in Spain while was denounced by the Vatican. The then-Fascist government of Spain tried to have the film banned in its premiere at the Cannes Film Festival but failed. Viridiana ended up sharing the prestigious Palme D'or along with Henri Colpi's The Long Absence. The controversy over Viridiana helped give the film international attention as a film that had to be seen. In 1977, the film finally premiered in Spain at the time when Bunuel had made his final film Cet Obscur Objet du Desir (That Obscure Object in Desire) in France. Bunuel retired until his death in 1983.

Viridiana overall, is an amazing film from Luis Bunuel. Featuring great performances from Silvia Pinal and Fernando Rey, it's a film that might not be as shocking in today's times. Yet, when audiences have to consider what's going on and what Bunuel suggested at the time, the shock value is still there. What is really surprising that when it won the Palme D'or that year, another film that won the year before that featured similar was Federico Fellini's La Dolce Vita that also reveled in debauchery and denounced by the Vatican. That film was also banned in Spain for several years until it was shown in 1981. In the end, for a film to reveal innocence lost in the real yet surreal world, Luis Bunuel's Viridiana is the film to check out.

Luis Bunuel Films: Un Chien Andalou - L'Age d'Or - Land Without Bread - (Gran Casino) - (The Great Madcap) - Los Olvidados - (Susana) - (La hija de engano) - (Mexican Bus Ride) - (A Woman Without Love) - (El Bruto) - (El) - (Illusion Travels by Streetcar) - (Wuthering Heights (1954)) - Robinson Crusoe (1954) - (The Criminal Live of Archibaldo de la Cruz) - (El rio y la muerte) - (Cela S'apelle l'Aurore) - (Death in the Garden) - (Nazarin) - (La Fievre a El Pasao) - (The Young One) - The Exterminating Angel - Diary of a Chambermaid - Simon of the Desert - Belle de Jour - (The Milky Way) - Tristana - The Discreet Charm of the Bourgeoisie - (The Phantom of Liberty) - (That Obscure Object of Desire)

© thevoid99 2011