7.2/10
244
2 user 4 critic

Pedro Páramo (1967)

Highly symbolic and allegorical, this drama takes the search of a son for his father in the chaotic times of the Mexican Revolution and the early 1900s as its basis. Stereotypical (or ... See full summary »

Director:

Carlos Velo

Writers:

Manuel Barbachano Ponce (screenplay) (as Manuel Barbachano), Carlos Fuentes (screenplay) | 2 more credits »
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1 win & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
John Gavin ... Pedro Páramo
Ignacio López Tarso ... Fulgor Sedano
Pilar Pellicer Pilar Pellicer ... Susana San Juan
Julissa ... Ana Rentería
Graciela Doring Graciela Doring ... Damiana Cisneros
Carlos Fernández Carlos Fernández ... Juan Preciado
Augusto Benedico Augusto Benedico ... Padre Rentería
Beatriz Sheridan Beatriz Sheridan ... Eduviges Diada
Claudia Millán Claudia Millán ... Dolores Preciado
Rosa Furman ... Dorotea la Cuarraca
Joaquín Martínez ... Abundio
Jorge Russek Jorge Russek ... Tilcuate
Eric del Castillo ... Perseverancio
Amparo Villegas ... Madre Villa
Graciela Lara Graciela Lara ... Margarita
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Storyline

Highly symbolic and allegorical, this drama takes the search of a son for his father in the chaotic times of the Mexican Revolution and the early 1900s as its basis. Stereotypical (or archetypal) figures from early Mexican cinema appear from time to time, and the violence of the revolutionary period is not glossed over. As the son searches for the father, scenes of the father and his earthy way of living are screened. Written by Anonymous

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Details

Country:

Mexico

Language:

Spanish

Release Date:

August 1967 (USA) See more »

Also Known As:

Pedro Paramo See more »

Filming Locations:

Acapulco, Guerrero, Mexico See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Sound Mix:

Mono (RCA High Fidelity)
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Did You Know?

Trivia

John Gavin's favorite of his films. See more »

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User Reviews

 
Flawless
25 March 2006 | by mlawrencewyattSee all my reviews

I truly feel that this film is an unsung masterpiece. From the opening credits to the Don's last cry of "Susana," it's a captivating, mysterious, and rich work. It is an epic both dark and profound, exploring a range of human motivations and emotions.

This film, based on the short novel of the same title, opens the flood-gates for the "magical realism" that would afterward fill the Latino arts. I cannot emphasize how well done the mysticism is. This is by no means a "ghost movie," but it's not afraid to use them. One scene in particular is so haunting and powerful it made me absolutely giddy. Our protagonist's visits to various residents of the run-down village are some of my favorite bits of cinema.

Potential "Spoilers" Begin Here:

I felt a common chord in the Don's obsession with Susana and C.F. Kane's nostalgia with "Rosebud" in "Citizen Kane." Both men become so consumed with ambition that they can no longer possess their ideal. Both men long for something so fundamental and simple that they smother it in their quest. Perhaps it is because this ideal *cannot* be possessed. The themes of possession with Susana are clear. She thinks of herself as belonging to Florencio, her father thinks he owns her as both daughter and lover, and of course Pedro Páramo thinks of himself as owner. But can a person own another? Can a man own the careless joys of his childhood?

In Páramo's yearning for the unattainable, he populates and destroys an entire region. And so resonates one of the last lines of the film: "Todos somos hijos de Pedro Páramo!" ("All of us are the children of Pedro Páramo!") But aren't we? Aren't we all the offspring of misled ambition--genetically, nationally, culturally, ethically, or religiously? There is a Pedro Páramo looming somewhere in our origins.

I applaud this film.


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