Los Olvidados (1950)
"Los olvidados" (original title)

Not Rated  |   |  Crime, Drama  |  24 March 1952 (USA)
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Reviews: 139 user | 58 critic

A group of juvenile delinquents live a violent and crime-filled life in the festering slums of Mexico City, and the morals of young Pedro are gradually corrupted and destroyed by the others...


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Nominated for 1 BAFTA Film Award. Another 12 wins & 4 nominations. See more awards »



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Cast overview:
Estela Inda ...
Miguel Inclán ...
Don Carmelo, el ciego
Alfonso Mejía ...
Roberto Cobo ...
El Jaibo
Alma Delia Fuentes ...
Francisco Jambrina ...
El director de la escuela granja
Jesús García ...
El padre de Julián (as Jesús García Navarro)
Efraín Arauz ...
Sergio Virel ...
Miembro pandilla (as Sergio Villarreal)
Jorge Pérez ...
Javier Amézcua ...
Mário Ramírez ...


A group of juvenile delinquents live a violent and crime-filled life in the festering slums of Mexico City, and the morals of young Pedro are gradually corrupted and destroyed by the others... Written by Michael Brooke <michael@everyman.demon.co.uk>

Plot Summary | Add Synopsis


A Motion Picture Masterpiece From Mexico


Crime | Drama


Not Rated | See all certifications »

Parents Guide:





Release Date:

24 March 1952 (USA)  »

Also Known As:

Los Olvidados  »

Company Credits

Production Co:

Show detailed on  »

Technical Specs


| (DVD)

Sound Mix:

(RCA High Fidelity Recording)

Aspect Ratio:

1.37 : 1
See  »

Did You Know?


The film unfolds exactly in 365 shots. See more »


Pedro: [addressing his mother, just before she leaves him at the Farm School] Just now you remember that I'm your son.
See more »


Referenced in Z Channel: A Magnificent Obsession (2004) See more »

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User Reviews

Neo-realism with an extra gear
19 September 2006 | by (Rome, Italy) – See all my reviews

Where do I start? Perhaps, by writing WOW a few hundred times in a row...

The very opening shots and voice-over warn us that this was not an optimistic movie. It instantly made me believe this would be Las Hurdes in Mexico, something like a fictionalised version of Buñuel's 1933 faux-documentary about the extreme poverty of the peasants in the remote Spanish Las Hurdes region. In the first half hour, Los Olvidados's mood and style remained faithful to the influence of several Italian neo-realist movies I'd seen, namely De Sica and perhaps some early Pasolini (namely, Accattone). In a looser sense, maybe also Mira Nair's Salaam Bombay! seemed to have gotten some inspiration from Buñuel's movie. And finally, I could also and more obviously see that Fernando Meirelles's Cidade de Deus (City of God) owed more than a little to this 1950 masterpiece. I love it when I finally get to see the movie that has influenced so many other (usually minor, but more famous) films that have followed it even several decades after its release! Los Olvidados would still have been an excellent film, even if it had remained Italian neo-realistic-like till the end. But to my delight and wonder, it became something much more unique and memorable as soon as its own distinct, Buñuelian flavour kicked in halfway through, IMO elevating this picture to something more than "just" powerfully gritty and cinematically honest (as can be said and admired in the works of De Sica, Rossellini et al). To be honest, though I AM Italian and the spirit of neo-realism is somehow deeply embedded in my cultural subconscious, my problem with the Italian neo-realists has always been their lack of vision, or refusal to also venture into the otherworldly, the spiritual, the dream-like, the allegorical. Though I bow before the greatness of the Italian neo-realist masters, I will never feel completely conquered by their otherwise mesmerising pictures. Before watching Los Olvidados, I was never quite sure of the reason for this. With this movie, Buñuel has finally put his finger on exactly what I've always found was missing in pictures like Sciuscià, Accattone and Roma Città Aperta for them to truly get not just under my skin, but into my wildest dreams and imagination as well - an ability to interweave the fantastical in something that couldn't be more grounded in reality. Yet, why can't the lives of the underprivileged underbelly of the world, in this case a Mexican shantytown of the late 40s, also evoke magic? Is the fantastical only a privilege of the bougeoisie? I think not! Thank you, Buñuel, for inspiring me into thinking about this...

23 of 29 people found this review helpful.  Was this review helpful to you?

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