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The Garden of Delights (1970)

El jardín de las delicias (original title)
The greedy relatives of an amnesic and paralytic 45 years old millionaire try him to recover his memory by any means.



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Cast overview, first billed only:
Luchy Soto ...
Francisco Pierrá ...
Don Pedro
Charo Soriano ...
Lina Canalejas ...
Julia Peña ...
Mayrata O'Wisiedo ...
Esperanza Roy ...
Alberto Alonso ...
Luis Peña ...
José Nieto ...
Antonio Canal ...
Ejecutivo (as Tony Canal)
Eduardo Calvo ...
Amigo 4
Marisa Porcel ...
Luisa Fernanda Gaona ...


Surreal look at a family's attempts to shock, bully, frighten, coach, and cajole Antonio Cano into regaining his memory and his management powers after an auto accident. He's middle-aged, wealthy, the leader of a family corporation. After the accident he can't remember his Swiss bank account numbers, can't sign documents, and can't lead his board of directors. His father needs Antonio's recovery to keep family control of the corporation, and Antonio's wife, children, and mistress want access to Antonio's money. They stage elaborate recreations of traumas in his childhood that mix with his own memories and hallucinations. Will they succeed? Will he come out of it? Written by <jhailey@hotmail.com>

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Release Date:

3 May 1972 (Sweden)  »

Also Known As:

The Garden of Delights  »

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Did You Know?


Fis e verays
Performed by Jena-Uwe Eggert
Conducted by Gregorio Paniagua and José Luis Ocha
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User Reviews

The Delights of Fascism
30 August 1999 | by (Singapore) – See all my reviews

Carlos Saura's "Garden of Delights" is a sly, black comedy about personal and political repression under Franco's regime. Psychodramas and shock therapy are among the tools of the trade employed to jump-start the memory of a wealthy industrialist recovering from an auto accident but still confined to a wheelchair. That his loved ones are in fact the instigators of such crude and farcical attempts to pry open the amnesiac's Swiss bank account should come as no surprise to anyone remotely familiar with Spanish history and culture. But Saura's dark tale, it seems, may proved too daunting to audiences who are unwilling to give themselves over to the film's dreamy, ruminative style that deliberately shunned "objective reality" for a subjective and interpretative approach to cinema. In Saura's view cinematic "reality" should represent the repressed state of the nation's collective consciousness and its refusal to surrender its dreams under those conditions. The debilitating conditions of fascism should not inhibit other forms of realities to exist or to challenge the prevailing political reality so that what "is" is not necessarily more important than what "should" or could have been. Scenes, real or imagined, accordingly compete for our attention throughout the narrative much as if the delights of the garden only become apparent after careful introspection and reflection. If fascism is indeed the soul of the new machine, then paralysis is just a state of the mind.

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