Luis Bunuel - Viridiana (1961)

Luis Bunuel — Viridiana (1961)

Dialect    Spanish

Subtitles    English

Having been stay away from from Spain from the days of the Formal War, working in Hollywood and then making films in Mexico, Luis Buñuel returned to his innate Spain in 1961, where his disputatious films L’Âge d'Or (1930) and Las Hurdes (1933) were still banned, to realize another vapour even while the tsar Franco remained in power. Rather than this being a weakening of his feeling as a left side-wing competitor to the Fascist r as some initially reflection, Viridiana, despite its complimentary in engaging the Palme d’Or at Cannes, would actually be considered just as disputatious and evil, causing such a stir in the Vatican that the Spanish tsar would for the purpose of a disordered the sacking of those ethical for entering the vapour as the stiff Spanish access at Cannes, and even without delay that the vapour be quite destroyed.

The article of a nun who resists the lubricous advances of her uncle, renouncing her winning of the vows only after his end to look after his belongings and give it over to the looking after of bums beggars, Viridiana must have looked complimentary on holograph, because that is the only way you could dream up this barbaric vilify on stable Spanish and Wide values getting close by the censor. And indeed, initially on the vapour does seem to truss those usual values, but subtly (and not so subtly) piecemeal undermining them as the vapour progresses until the whole subject collapses in the most unspeakable way imaginable.

A probationer nun, Sister Viridiana (Silvia Pinal) circumspect to ignore the convent for the temptations and atrocious of the outside area, nevertheless agrees to dish out a few days on the belongings of her uncle Don Jaime (Fernando Rey), since he cannot be furnish himself at her winning of her vows. Her fears seem to be founded and young details on her uncle’s belongings inconvenience her – a roguish issue, an uncle with an illegitimate son, Jorge (Francisco Rabal) – even the udders on a cow seem to be sexually suggestive to her. Troubled by what she sees, Viridiana sleeps with her annoyed and a fillet of thorns by her bed, but sleepwalks in the dusk and pours ashes onto her uncle’s bed. It seems that Viridiana is right to be wary of her uncle, witnessing and being feigned to participate in a grotesque fetishistic conventions involving his wife’s fusing put on fancy dress, the one she wore when she died on their fusing dusk. More than that, he wants Viridiana, who resembles the indifferent helpmeet, to take her improper as his inconvenience and drugs her with the end of raping her.

It’s certainly exciting to certificate the more disputatious elements of Viridiana’s attacks on the church and capitalistic moss, as they are undertaken with a juvenile revel in at causing create annoyance – whether it is through the figurativeness of crosses that go to ground knives, through the eminent uncomfortable of the beggars in the posture of Leonardo da Vinci’s The Last Supper, the suggestive ménage-a-trois postcard heroic at the end of the vapour or one of the many other not-so-exquisite attacks on Catholicism. But while they interest and dumfound at their audacity for the days the vapour was made, they would hardly revolt too many people now. In correctness, though it initially sounds grotesque, I actually believe that there is some correctness in the annotation made by a Jesuit churchman that can be rest in the Cinéastes de Notre Temps aspect on this DVD number. The churchman (and vapour critic), who teaches at the very same educational institution where Buñuel was well-informed, observes that, despite Buñuel’s insist on to be an atheist, there is evince of a far downwards upright and rigorous assurance behind all the storming and anticlerical sentiments in his films. Buñuel’s eminent comment of “Thank God I’m an atheist” in this structure could be seen as more than just a ingenious aphorism, and perhaps reveals even more than most believe. It’s this intriguing contradiction or equivocalness in Buñuel’s feeling that gives realize something of oneself to the Viridiana’s more intriguing elements.

While such attacks on the church may no longer have the power to astound that they once did, Viridiana still has not irremediable any of its power, since the candid durability of the vapour is in Buñuel’s depiction of kind kidney. That purpose is a far downwards cynical one – or perhaps just a more hard-headed one than had been formerly seen on flicks up to that call attention to – and he depicts it in all its twisted cruelty, perversity and contradictions, tapping uneasily into secret desires and normally unspoken impulses, much of it inspired by his own dreams and deep-rooted. Buñuel’s perspective of mankind still stands up against even the bleakness of Harold Pinter, the darkest Hitchcock of Light-Headedness and even matches the weirdness and grotesquery of David Lynch. Everyone here is psychologically imbalanced, has neuroses and complexes and a secret, secret kidney. Even the housekeeper’s issue has perturbing and suggestive nightmares of a mountainous unscrupulous bull charging into her compartment. Throughout, Buñuel shows how people’s complimentary intentions can be unwise, motivated by less admirable impulses such as criminality (a very Wide kink) or totally taken betterment of. Jorge’s preposterous freeing of a unwed dog tied to a barrow is one such example, but there are signs everywhere of goodness being twisted. Don Jaime claims that he was once a complimentary man, a contributor who rest that the area didn’t welcome or appreciate virtuousness and openness. His lecherousness to wed Viridiana is also born out of a twisted twisting but candid sweet for his indifferent inconvenience. It’s patent also in the frankly masochistic kidney of Viridiana’s rigorous gear and a far downwards sanctimonious kidney that only opens her up to seeing threats of snare and atrocious in everything around her. Her visionary complimentary intentions for ration out bums beggars also turns out to be unwise and taken betterment of by the realities of kind kidney, and by the end of the vapour, her entry to the abandoned Jorge is the ending access of the downfall of her rigorous ideals.

Most obviously, this upheaval of the darker side – or should I just say kind side – that lies below the fa of complimentary acts and intentions is made patent in the uncomfortable of the beggars lavish dinner itself, which, cross-grained to thoughts of blasphemy, is actually much less cynical than it appears and, as the Jesuit churchman suggests, perhaps shows Buñuel’s humanistic side. By placing the beggars in a model of the apostles, like Caravaggio’s use of prostitutes and beggars in his rigorous paintings, he robs the uncomfortable of its supernal rigorous odour and reminds us of the kind qualities that lie behind them. Is it blasphemous? Hardly. Iconoclastic, certainly — Buñuel seeking to revolt and demand people’s untroubled illusions and discourteous rigorous beliefs, exposing the charlatanism that lies below them. These are candid people, with candid flaws and candid problems and Buñuel uses candid beggars rather than actors and makes us confront them. Does their mien on the curtain and their deportment revolt us? How much are we willing to cancel their deportment, their ugliness, their coarseness and their poverty? Are they also not just as welcome at God’s table? Well, since the vapour was swiftly judged wrong and banned by the Vatican, indubitably not. Buñuel could doubtless have expected nothing less.

-----not my rip------

Parade Dimension (in bytes) ..: 1,565,151,232 bytes

Runtime (# of frames) .: 01:31:12 ( frames)

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Audio bitrate .........: 192 kb/s [2 trench(s)] CBR audio

Interleave ............: 96 ms

No. of audio streams ..: 1


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