Santa Sangre

This is a startling work, a truly artistic masterpiece, which did achieve some mainstream recognition for Jodorowoski but not what the film deserved. Filled with unsettling images, grotesque displays of violence and sexuality, and subtle but comic references, Santa Sangre is Jodorowoski's most coherent work. It is also a thoroughly artistic work, with a greater emphasis on representation than drama or morality. If you have not seen this movie, rent it. You will not soon forget it whatever your final evaluation might be. Too bad its not available on DVD (hint).

I remember seeing this movie in 1990 in a tiny cinema in London, on a date. As we walked from the theater and got on the tube, neither of us said a word for 20 minutes. Finally, she said, "you have a strange taste in films."

Back then, I was heavily into Luis Bunuel. This was one of the few post-Bunuel movies that embodied the essential creepiness and odd humor of the Surrealists (the other one that comes to mind is "Videodrome"). There's the obvious Freudian stuff, the obvious shock stuff, but leaving all that aside, there are indelible moments of cinematic poetry. The elephant; the son's arms; the final shot. It feels, more than 10 years later, like a repressed dream/nightmare.

I don't consider this a "horror" movie, in the sense that there are no slasher, monster, alien, demon, zombie, cannibal, haunted house, supernatural, dread disease, or giallo elements. I don't remember this movie being particularly scary or gory; just creepy. Maybe it's in a similar genre to "Eyes Without a Face," but only in the sense that both movies deal with mutilation and revenge. (Then again, I remember seeing "Un Chien Andalou" and "In the Realm of the Senses" in the horror section of a video store -- a sign of either ignorance or insight, I could never figure out.) This one truly belongs in the Foreign Films section, but not just for being non-Hollywood.

This is truly a shocking film crammed with bizarre and grotesque violence both explicit and lurking beyond the 'five-senses perception'.A sick masterpiece by a sick genius.Santa Sangre evolves into the strange universe of its creator ,Alejandro Jodorowsky.This is not at least surprising because most of his works:films (El Topo etc.),comics (The cast of the Metabarons,Inkal etc.)etc etc,are pieces of the very same puzzle,Alejandro's universe.

Santa Sangre (Holy Blood) is a pure surrealistic work.Symbols,insanity, Life and Death mix up the wild beauty of Ancient Greek Tragedy.In conclusion: this is not a film for everyone,but if you are open minded you will be able to make a step further,beyond the image itself and face the deep brutal truth of this movie.This is how it would look like a movie shot by Salvator Dali himself.

First let me say that this is my frist movie by the director. I have not seen El Topo, or any of his others. This is a great movie, in my opinion. Not quite perfect, but still great. It, more than any other movie I have seen, exudes the most raw emotion without saying a single word. One of the movies characters is a deaf mute. There is hardly any dialogue, but it is all the better without it. It oozes the emotion that it needs to pass by through camera work, style, and acting.

The story is not your normal story, and in fact is a bit creepy. I will not tell you one single part of it, because I only knew very little going in to see it. But, let me tell you that it is not for the weak of mind or heart. But, the emotion of the movie is completely there, and I highly recommend this to the people who don't mind thinking to be slightly scared. And this is a movie that doesn't feel it has to explain everything away, and so is all the better for it.

9/10

Santa Sangre (1988) is an absolute curio; a surrealist satire on the absurdities of organised religion, a violent pastiche of slasher cinema and an infernal parody of Hitchcock's classic Psycho (1960) all rolled into one. These particular ideas are further tied together by director Alejandro Jodorowsky's continuing preoccupations with circus themes, childhood, murder and performance art; as vivid colours and bold strokes of character and ideology are thrown wildly around the screen amidst surreal visions, childhood reflections and elements of satire. It perhaps lacks the obvious depth and esoteric mysticism of his earlier films - that trio of surrealist masterworks Fando and Lis (1968), El Topo (1970) and The Holy Mountain (1973) - but it remains, nonetheless, a visually impressive and psychologically deep experience that manages to be moving and emotionally demanding, despite the often grotesque and uncomfortable presentation of theme and imagery.

Given the superficial aspects of the narrative, many people have chosen to see the film as a work of horror; something that is entirely plausible given the definite themes of psychological breakdown, madness and inner-torment; not to mention a number of violent murders that propel the story back and forth between enigmatic moments of nightmarish abandon and more colourful and darkly comic moments of parody, farce and cinematic self-reference. However, it is wrong to box the film in with such limited interpretations or categorisations of genre, given the very obvious fact that the film has a number of more interesting layers at work beneath these more blatant surface elements. If anything, I would call the film a psychological fantasy and leave the individual viewer to project their own ideas and interpretations onto it, without having their opinions swayed or pre-led by the hyperbolic platitudes of reviews like this.

However, even with that in mind, Santa Sangre is one of those films that simply demands such discussion, and perhaps requires reviews like this one, not for the benefit of other people, but as an attempt by me to piece together all aspects of the film's bizarre, patch-work like approach to storytelling, and the deeper themes and references that Jodorowksy toys with amidst the continual barrage of visual and aural stimulation. The presentation of the film involves a number of different aspects, some referential, others purely fantasy, moving from an almost Felliniesque portrait of carnival life and idyllic youth - as we are introduced to our central character as a young boy - before shifting further into the young man's life and becoming something of a darkly comic send-up along the lines of One Flew Over the Cuckoo's Nest (1975) or Bad Boy Bubby (1993). From here the film becomes darker still, with Jodorowsky establishing the murderous sub-plot, which reaches something of a peak with one of the most insanely violent murder scenes ever witnessed in contemporary cinema.

Nevertheless, anyone expecting a straight murder film - something more akin to the work of producer Claudio Argento's brother Dario - will probably be disappointed. Jodorowsky's intentions for the film go beyond such notions, as he instead ties together a number of disparate concerns to create a grotesque, yet strangely beautiful film that manages to reference the Hollywood melodrama of Sunset Blvd. (1950) and the Gothic horror of the films of James Whale within a story of murder, innocence and Freudian psychology. The impact of the film is certainly within its bizarre symbolism and surreal beauty; the elephant's death-scene for example is one of the most extraordinarily moving things I've ever seen, and ties in nicely with the feelings of the character towards the end of the film, in which the ghosts of the past return amidst a series of startling and frightening recollections, fairy-tale like abstraction and moments of absurd humour.

The film creates an astounding atmosphere from the very start, particularly in the early scenes set within the circus, churches and sweaty streets of Mexico City; with Jodorowsky demonstrating a real understanding and feel for the place, with its sad incongruities of dwarfs and giants and that air of suffocating and claustrophobic dread. The direction, production design, music and photography really capture the dangerous and somewhat confusing tone of the environment, whilst simultaneously retaining a sense of childlike wonderment; particularly in one of the film's most astounding sequences, in which the corpse of an African-elephant is carried through the streets in a giant coffin, dumped into a ravine by a concoction of carnival mourners, only to be savaged and ripped to pieces moments later by a pack of hungry peasants. This scene acts as a grand metaphor for the supporting characters here, and how they send our anti-hero-like protagonist into a spiral of madness, murder and forgiveness.