An unstable young woman escapes from a reformatory for very, very wayward girls and deceptively finds shelter in the kind home of a frighteningly nice and decent family. Little by little, ... See full summary »
Víctor Manuel Mendoza
Francisco is rich, rather strict on principles, and still a bachelor. After meeting Gloria by accident, he is suddenly intent on her becoming his wife and courts her until she agrees to ... See full summary »
Arturo de Córdova,
Buñuel's first "comeback" film since "L'Age d'Or" in 1930 (he made only a few musicals in the interim), "El Gran Calavera" concerns a family's attempts to change the patriarch's somewhat ... See full summary »
When the young woman Tristana's mother dies, she is entrusted to the guardianship of the well-respected though old Don Lope. Don Lope is well-liked and well-known because of his honorable ... See full summary »
A surrealist tale of a man and a woman who are passionately in love with one another, but their attempts to consummate that passion are constantly thwarted, by their families, the Church and bourgeois society.
Caridad de Laberdesque
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 <firstname.lastname@example.org>
When it was released in Mexico in 1950, its theatrical commercial run only lasted for three days due to the enraged reactions from the press, government, and upper and middle class audiences. See more »
[addressing his mother, just before she leaves him at the Farm School]
Just now you remember that I'm your son.
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Please, right now, take away the featured user comment that calls Los Olvidados a "nice, short drama." This is perhaps the worst assessment of any movie I have ever heard, and whoever said it cannot recognize how masterful the film is because his or her senses have been dulled by too many action movies. I say that because this film, from surrealist master Luis Buñuel, is as admirable as nearly any portrait of poverty and crime, with the probable exception of DeSica's The Bicycle Thief. In fact, though, Los Olvidados is much much more brutal and harrowing than The Bicycle Thief (not to say that this assures it to be a superior film). Buñuel mostly takes a break from his surrealist tendencies in this film, with the exception of a few remarkably effective dream sequences, and creates a ultra-realist portrait of Mexican slums that is uncompromisingly frank. All the characters, including a young boy caught up in a dangerous gang, his harsh mother, the gang leader and vicious bully, and a bitter old blind man, among others, and what transpires among them are expertly captured by Buñuel's camera. To characterize this movie, I would call it a much more bleak and brutal Neo-realist film, with a touch of surrealism. I would also characterize it as a masterpiece. Why this film does not show up on more top film lists I am unsure, but all I can say is that it should not be missed by any serious film connoisseur.
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