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,
After indulging in an affair with a man (a friend of the family) she truly loves, a woman returns to her young son and husband for good, and loses contact with the man. Her husband is ... 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
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 »
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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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...
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