Viridiana

Viridiana may be one of the least surreal films in Luis Bunuel's career, more than likely, but it has perhaps the most acidic satire in any of his 1960s work. It's a film that, actually, might be a good portal into the director's work for those who haven't seen much or any of his work (though one could always vouch for Discreet Charm or Un Chien Andalou first). It's actually got a very straightforward narrative without too many punches pulled in delving into the characters' psyches. We're given the compassionate, caring, but also very mixed-up Viridiana, played by Silvia Pinal, beautiful and kind, but in her ultra-Catholic character is someone who cannot be tempted in the least. She is, one would suppose, the most conventional character, and we're just supposed to take for granted, in Bunuelian style, that she's just like this way. No bother- this is a masterpiece of ensemble anyway, and an ensemble practically all non-professionals (it almost seems like Bunuel picked some of them from the same village that provided Las Hurdes). It's bitter and depressing in its view of humanity, but it's expertly crafted all the way, and it builds towards a tremendous climax.

For a while it seems like something very peculiar is going on with Viridiana and her uncle (Fernando Rey, in only a supporting role but one of his very best performances), when he invites her to stay at his home but won't let here leave due to his infatuation with her. Indeed, we see- in one of the funniest bits early on- that he even tries her shoes on, and attempts to have his way with her when drugged. But Bunuel's film, for the most part, isn't necessarily as hilarious in its satire as in his other classics. Actually, it's really more of a dramatic effort here, which is all the more fascinating to me: Bunuel can pull off making what seems, at least for 2/3 of the film, to be a sincere look at how a woman makes an attempt to overcome a tragedy in her family (Rey's character's end) by taking in vagrants and homeless folk and cripples, while her 'cousin' takes over the bourgeois duties. On this level, Bunuel, and his screenwriters, have a fantastic control over the mood of scenes, and then spiking with little visual details things that just strike his fancy (i.e. in the attic with the cat and the rat, or the teats on the cow, or the crown of thorns).

...BUT, then there's a day when Viridiana has to go into town, and those she took in take over the joint, so to speak, and it makes the nighttime party scene in One Flew Over the Cuckoo's Nest look tame by comparison. This is where finally, as if in a rush of clarity, Bunuel unleashes the fury of his satire, as one sees what the kindness and support that Viridiana tried to do- if not out of the genuine goodness of her heart then as just a way to clear her religiously guilty mind-set over Rey's Uncle- completely, reprehensibly backfires. At this point one sees Bunuel at his naughtiest, most crude, and still as is a given with him, playful (one of the greatest moments in the filmmaker's career comes when he deliberately sets up the Last Supper for the bums). Then, finally, one sees a very cruel and almost dehumanizing catharsis, but maybe it's not really at the same time. There is a powerful message working through much of the picture, where religion, class, attitudes are all tested in the sense of restrictions: how far is too far with temptation and free will? For Bunuel, it can be anything, which is why the outcome of Viridiana taking in the homeless and destitute becomes her psychological downfall (see her hair let down towards the end, and her blank, drained face at the card table).

And yet, all through the symbolism that seems ambiguous (girl jumping rope) and very direct (burning of crown of thorns), and with the scathing mix of sordid drama and black-as-a-bull comedy, Bunuel never loses sight of his vision, and Viridiana is a constantly watchable effort with his gracious, intuitive camera, and his sharp ear for the truth in every character's dialog. Frustrating at times, you bet, and its sensibilities on human nature, and the decisions made, make one re-think what it is to be either rich, poor, or in the middle. But it's also one of the director's best films, and a very deserved Golden Palm winner.

This film portrays the abysmal differences between people with different educations and senses of morality. At the same time, it is a commentary on the hopelessness of a society where no one understands why the status quo should be tampered with. No summary could really do this film justice since the visual impressions and symbols are just as important as the express message portrayed by the events.

But here goes: A novice is forced by circumstances to leave her convent and visit her uncle, falling under the influence of her world wise cousin. She tries to maintain her ideals by doing good works but is taken advantage of and despised by the very people she means to help.

Viridiana was the first film Buñuel filmed from exile and (so the story goes) the church was in an uproar and adamant that it be censored. Perhaps this is because none of the characters seem to give a fig about the teachings of the church except for the novice. Perhaps it is because one of the messages that seems clear is that the church is ineffectual in its efforts to improve the human condition. However, the depth of the story speaks more to the social condition in general -similar in all of Europe at the time- and the church was merely a part of that.

It is possible that a superficial viewing might interpret the characters to represent specific political factions from the era when the film was made but I believe that is an error. Even Franco, if we are to believe what we are told today, didn't personally see anything wrong with the film when he saw it and his order that all copies be destroyed was given in the interest of appeasing the church. People who appreciate quality film will be grateful that at least one copy survived the mass destruction by being sent to France.

Few film directors have worked with the sheer power and subversiveness that Spanish-born Luis Buñuel have. "Viridiana" is one of the best examples of the exiled Spaniard's feelings towards religious faith and its virtues- or his strong denial of religion as a virtue.

Buñuel started out as a Surrealist, and although he left the Surrealist Circle of Paris lead by André Breton, he always kept elements of Surrealism in his work, to the bitter end. So too in "Viridiana", where dreams play a small, but important part of the narrative, dreams being the Surrealists' main theme as a way of discovering repressed sexuality and aggression. Viridiana is a young nun who is, on the grounds of showing human compassion, talked into visiting her uncle Don Jaime, who is ill. Don Jaime, played by Buñuel regular Fernando Rey, is caring, but perverse. He falls in love with his niece, and does everything with the help of his maid, to keep Viridiana from parting to the convent, including lying to her and seducing her while she is trainquilized.

I am not going to give away all the events of the film, but the corruption of humanity and Christianity are soon evident, as Viridiana tries to help poor beggars and give them a worthy life. Her attempts at Christian charity are only met with self-pity and egocentricity, as the beggars go on a rampage reminiscient of the last supper of Jesus christ and his disciples. Violence, murder, gluttony and rape are all included to make a clear picture of the way the beggars have lost their human virtues to the hardship of poverty. We see the events through Viridiana's eyes, and everything she goes through suggests a broken belief in the goodness of both human beings and the faith she kept for so long.

A masterpiece in revolutionary cinema, this film won the Palm d' Or at Cannes in 1961, and the Spanish Board of Film were all fired afterwards, as Franco's regime could not quite swallow that "Viridiana" was the official Spanish contribution to the Festival.

This is a great movie. It is an investigation of the human nature and attempts to tell an interesting story about the suppression of our inner instincts. Bunuel, once again, compares the morality that comes from inside us, i.e., the morality of the subconscious, against the morality which imposed by society and the various religious organizations.

Bunuel seems sacrilegious, but I think that his movie attacks false piety as opposed to the deeper mysteries of the Catholic faith. Viridiana in the movie is not considerate of her uncle's passion for her and that kills the old man. Her punishment comes later from the unworthy beggars. The moral of the story is that we'd better investigate our flaws and strengths before attempting any encounter with other members of the society. Nobody is perfect and there are different ways to help people out there effectively. Honest work is sometimes more effective than useless acts of charity. If we do not know our selves and we cannot understand others we may deeply hurt people we care for.

All these ideas came to my mind while watching "Viridiana". What a great movie it is. One of the great moments of the movie is a side by side viewing of the honest workers renovating the mansion and the unworthy beggars praying in the fields.

Beautiful and devout Viridiana (Silvia Pinal in an impressive performance) is about to take her final vows as a nun, and enter a convent. At the urging of her Mother Superior she takes a short break to visit her estranged Uncle and benefactor Don Jaime (Bunuel regular, the always wonderful Fernando Rey). Reluctantly she does so thinking it will be the last time she sees him before devoting her life to God. Don Jaime, a complex man, has other plans for Viridiana - he wants to take her as his wife. What follows is unpredictable, fascinating and an almost perfect piece of film making. Highly controversial in its day, and accused of blasphemy, it may not be as shocking to our cynical, secular eyes, but it still packs a punch, and is highly recommended. One of Luis Bunuel's greatest achievements.