It is to be regretted that the filming of this had to be abandoned but the fact that what we have is the result of less than three weeks shooting is a testament to the skills of Luis Bunuel.
Despite the curtailed form it is still sufficient to enable the director to say what he has to say and to give us a self-contained masterpiece of film-making.
The title character, based upon ascetic Simeon Stylites who spent over three decades on top of a pillar with little or no sustenance will be seen either as an example of saintliness or foolishness but Bunuel, despite his avowed atheism, depicts him as a sympathetic figure whilst saving his customary mockery for those on the ground including the amputee who is not even grateful for having his hands miraculously restored; the dwarf who requests to be given a different blessing to that of his goats and of course the sanctimonious, extremely well-fed priests. One cannot but feel sorry for Simon's mother who still observes him whilst living in a tent despite his having renounced her in favour of God.
Very effective is the camerawork of Gabriel Figueroa who shoots from above and below. The score is suitably sparse and features the traditional Easter drums of Calenda that Bunuel utilised in 'L'Age d'Or'. The role of Simon represents the finest filmic hour of Claudio Brooks.
I have no doubt that Bunuel's feelings towards producer Gustavo Alatriste were mixed but happily for us their collaboration had previously resulted in 'Exterminating Angel' and 'Viridiana' which starred Alatriste's wife at the time, the luscious Silvia Pinal. Not only does the Devil have the best tunes but also the best guises and here her incredibly sexy personifications call to mind Oscar Wilde's "The only way to overcome Temptation is to yield to it"!
Bunuel is on top form here. Although compact this film really packs a punch and is free from the occasional longueurs of some of his full length features. It also confirms an astute critic's observation that Bunuel is as much a Realist as a Surrealist. Granted, the abrupt switch from a Fifth Century arid landscape to a Twentieth Century Manhattan nightclub is less than satisfactory but it is at least an ending of sorts. Needs must when the Devil drives!
Despite the curtailed form it is still sufficient to enable the director to say what he has to say and to give us a self-contained masterpiece of film-making.
The title character, based upon ascetic Simeon Stylites who spent over three decades on top of a pillar with little or no sustenance will be seen either as an example of saintliness or foolishness but Bunuel, despite his avowed atheism, depicts him as a sympathetic figure whilst saving his customary mockery for those on the ground including the amputee who is not even grateful for having his hands miraculously restored; the dwarf who requests to be given a different blessing to that of his goats and of course the sanctimonious, extremely well-fed priests. One cannot but feel sorry for Simon's mother who still observes him whilst living in a tent despite his having renounced her in favour of God.
Very effective is the camerawork of Gabriel Figueroa who shoots from above and below. The score is suitably sparse and features the traditional Easter drums of Calenda that Bunuel utilised in 'L'Age d'Or'. The role of Simon represents the finest filmic hour of Claudio Brooks.
I have no doubt that Bunuel's feelings towards producer Gustavo Alatriste were mixed but happily for us their collaboration had previously resulted in 'Exterminating Angel' and 'Viridiana' which starred Alatriste's wife at the time, the luscious Silvia Pinal. Not only does the Devil have the best tunes but also the best guises and here her incredibly sexy personifications call to mind Oscar Wilde's "The only way to overcome Temptation is to yield to it"!
Bunuel is on top form here. Although compact this film really packs a punch and is free from the occasional longueurs of some of his full length features. It also confirms an astute critic's observation that Bunuel is as much a Realist as a Surrealist. Granted, the abrupt switch from a Fifth Century arid landscape to a Twentieth Century Manhattan nightclub is less than satisfactory but it is at least an ending of sorts. Needs must when the Devil drives!