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A surrealist tale of a man and a woman 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 »
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 »
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
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 <email@example.com>
Recently a ninth roll of the movie was found after decades of thinking that the movie only had eight. The ninth roll includes an alternative "happy" ending, and is included in a new DVD released in Mexico with a book about the movie. 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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Buñuel's most serious, concerned and poignant film. If 'les Quatre cent coups' (1959, Truffaut) is good, this is brilliant. Only the cinematography, which is still very good, can not equal the level of that film. Everything in this meticulous film has a purpose: nothing is left to coincidence and 10 seconds missed is fatal (the brilliance we're only used from Kurosawa and Eisenstein). Buñuel uses his intuitive graphics and metaphoric sequences, rather than fancy lighting and cocky cinematography, to emphasize his concern with the boys (the protagonists: the 'forgotten ones') and his aversion to the apathy of the fathers (who haven't much screen time) who mind-numbed think about sanctions rather than the causes of the delinquency.
'Los Olvidados' deals with the distance between two generations, especially the distance between fathers and sons. Where that distance in 'a Clockwork Orange' and 'Fight Club' leads to virtually unbridled violence, and in 'les Quatre cent coups' (1959, Truffaut) to other misdemeanors, not to mention the innocent mischief in 'les Mistons' (1957, Truffaut, short), here it leads to callousness and abuse of whatever is in the way. But in the way of what? Do the lives of 'the forgotten ones' have a direction at all, apart from trite survival?
Although M (1931, Fritz Lang) already focuses on the psychological problems that delinquents can have (first serial killer on celluloid ever), the other movies mentioned above are all younger, so I tend to believe that Los Olvidados was a groundbreaking film and inspired the other filmmakers. Correct me if I'm wrong. Los Olvidados deals with the distance from the apathetic parents, in Clockwork the parents are petit-bourgeois populace, in Fight Club seem to exist no parents at all (generation x) and in Quatre cent coups the parents have their own problems and not enough persuasiveness to create a solid ground. Finally Los Olvidados reminded me of 'Rocco e i suoi fratelli' (1962, Visconti), where a family moves to the city too and a disciplinary father figure lacks.
This is another Buñuel film that seems to have no precise beginning and no end. It's just there with all its brilliance to raise a matter, and should not be missed, for it demands a distinguished place in film history somewhere between M and A Clockwork Orange.
Why o why can't we vote 11 :(
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