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Viridiana 
Actors : Silvia Pinal, Francisco Rabal, Fernando Rey, José Calvo, Margarita Lozano
Director : Luis Buñuel
Studio : Hens Tooth Video Movies
by Hens Tooth Video Movies
Release Date : 1996-09-24
Publisher : Hens Tooth Video Movies
Availability : Usually ships in 1-2 business days
Number of Items : 1
EAN : 9786302562255
UPC : 759731102438
Avg. Customer Rating: (based on 34 reviews)
List Price : $24.99
Our Price : $98.99
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Marketadvisory.com |
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While its so-called "blasphemies" have been tamed by the passage of time, Luis Buñuel's Viridiana remains a masterpiece for the ages. After 22 years in Mexico and the United States, Buñuel returned to his native Spain in 1961 with dictator Franco's permission to make any film he wanted, pending the approval of censors. Inspired by a minor saint named Viridiana and an erotic fantasy about making love to the Queen of Spain after drugging her, Buñuel proceeded to combine these elements into a characteristically provocative scenario about Viridiana (Silvia Pinal), a young woman about to become a nun, who leaves her convent to visit the decaying estate of her uncle, Don Jaime (Fernando Rey), an eccentric widower who's immediately taken with Viridiana's close resemblance to his dead wife. Jaime's aborted attempt to seduce Viridiana (and his subsequent suicide) sets the film's second half in motion, as Viridiana assuages her guilt by turning Don Jaime's estate into a haven for the dispossessed--quite literally a "beggar's banquet" that culminates in one of the most indelible images in all of Buñuel: a staged recreation of da Vinci's "The Last Supper," with a cast of itinerant peasants as "disciples" in Buñuel's new world order--a cutting response to backward notions of progress. Like any great film, Viridiana reveals its depth and detail through multiple viewings. The film is scathingly critical of Catholic hypocrisy and Franco's Spain (Don Jaime's estate is a direct reflection of the country's moribund state of sociopolitical decay), and its allegorical content was not lost on Spanish authorities, who banned the film (it wasn't shown in Spain until 1977) after it won the coveted Palme D'Or at the Cannes Film Festival. In a closing stroke of genius, Buñuel skirted around his censors with a final scene even more provocative (in its subtle implications) than the sexually suggestive ending he'd originally filmed. With much to say about the conflicting nature of human desires, Viridiana may have softened over decades, but it's never lost its ability to spark debate, discussion, and rewarding analysis of Buñuel's directorial vision. --Jeff Shannon On the DVD
The newly restored, high-definition digital transfer of Viridiana impressively maintains Criterion's exacting standards of audio-visual quality; it's a flawless transfer, with deep blacks and richly detailed clarity. The supplements include new (2006) video interviews with actress Silvia Pinal and Spanish cultural scholar Richard Porton; warmly revealing excerpts from the 1964 French TV series "Cineastes of Our Times," featuring an interview with Buñuel; and a 30-page booklet with an essay on Viridiana by Princeton film scholar Michael Wood, and a generous interview excerpt from the book Objects of Desire: Conversations with Luis Buñuel. --Jeff Shannon |
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Yawn |
The criticism of intent is a killer on bad films that have no real depth and do not last a few years beyond their intent's purpose. Such was re-emphasized to me watching Spanish filmmaker Luis Buñuel's vastly overrated black and white 1961 `shock classic' Viridiana. Of course, all the alleged shock value had to do with Buñuel's puerile attempts to poke fun at and scandalize both the Roman Catholic Church and the regime of Fascist dictator Francisco Franco, and nearly five decades later it looks more like a college prank video than any serious cinema. Furthermore, it is not in the least bit subversive, as many poor critics claim, because its criticism of the Church, especially- and even then, was so manifest as to make one wonder if those who claimed it had subversive qualities even knew what the term meant.
Of course, given Buñuel's start as a Surrealist superstar- that overused and often misapplied term, it's no surprise that much of his filmic career would be seen through such a pretentious lens- especially by fans masquing as critics, rather than dealing with the individual films, and whether they fail or not. The fact is, while Viridiana is a reasonably capably made film- on a technical level (although there is no standout cinematography, musical scoring, nor interesting visual compositions), it fails because its screenplay is abysmal. As in other `classics' of his, whose luster has faded (think Belle De Jour), Viridiana is larded with cardboard characters, caricatures, and outright stereotypes that are bad enough, alone, but given that they are not put to any truly subversive use, makes them all the more a wasted effort. They also suggest the paper thin grasp of reality- especially the political sort, that die hard Leftists like him are often represented as having; making him the biggest unintended caricature of all those associated with the film.
Yes, Buñuel is not as pretentious and lacking in filmic basics as that other Surreal fraud, Jean Cocteau- so what? That doesn't make Buñuel a Master; not even close, despite all the praise tossed his way. Viridiana fails not for a huge error or two, but for an unending string of little wrong and inane things, such as ridiculous symbolism- Viridiana sleepwalks and tosses ashes into Jaime's bed, and a film that moves far too quickly and gives no real insight into anything- especially its characters. For ellipses to work, they must be deployed within well-defined characterization, so that viewers can reasonably extrapolate the elided events. Without that, the missing elements shortchange both the tale and the characters.
Furthermore, the film's criticism of Roman Catholicism is absolutely depthless- it has been done before and since, and done better. There is no intellectual rigor, nor a hint of poesy. The political intent overwhelms the minuscule art. And, without real characters, who gives a damn what is intended? The exercise is rendered pointless by its own incompetence, something that haunts most of the Buñuel canon, which may explain why Viridiana- film and character, have such vacancies in their gazes.
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The masterpiece of Don Luis Bunuel |
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If you have to own only one film from Luis Bunuel, Viridiana have to be it ! I still consider this film from 1961 to be one of the two best the spanish film director ever made. The other one is ''Nazarin'', a film Bunuel made in 1958 during his exile in Mexico. When you consider how little money he had to do this film compare to Viridiana, I would vote for Nazarin as Bunuel's all time masterpiece. Another great thing in the Viridiana DVD is the wonderful extras they included. You'll see a rare but too short interview of the great mexican actress, Silvia Pinal and a delightful interview of Luis Bunuel dating from 1964 in which he prooves that he had a great sense of humor also ! So, if you're a Bunuel fan, don't hesitate ! |
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I am still, thank God, an atheist |
That quote from Director Bunuel is perfectly fitting for this Spanish classic. It was banned in Spain until '77 due to its under-handed challenges to faith and power.
The first part of this story tracks the path of the beautiful Viridiana, a devout religous woman who briefly leaves her convent to visit her uncle. He is grieving from the loss of his wife, and his niece's resemblance to his former spouse gives him some foolish ideas. You're forced deeper and deeper into a realm of disgust and fear as his intentions become evident.
Of course this whole fiasco ends in a catastrophe, and sets up the second half of the film. Viridiana leaves the church and tries to do some good. She takes in some vagrants and tries to help them better themselves. Here the film seems to shift from twisted drama to dark comedy as absolutely none of her good deed will go unpunished.
This great movie left me contemplating much of Bunuel's intentions. He seems like quite the pessimist. I like how he is critical of Catholic hypocricy. Also, he seems to suggest that it is completely pointless to do anything positive or helpful in this world. That is a sad way of looking at things, but I also find it quite humorous. This is a brilliant masterpiece that demands multiple viewings. |
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Buñuel at his best: Viridiana. |
Censored, banned, and burned by the Francoist authorities in Spain, Luis Buñuel's 1961 film Viridiana was the winner of the Palme d'Or at the 1961 Cannes Film Festival. It tells the story of a beautiful young novitiate, Viridiana (Silvia Pinal) who, about to take her vows, is told by her Mother Superior to visit her lonely uncle, Don Jaime (Fernando Rey), thus putting her on the path to disillusionment. Upon discovering that Jaime hopes to seduce and marry her, Viridiana attempts to flee the house, but is subdued and drugged by her uncle. He then tells her she cannot return to her convent because he took her virginity. She decides to return the convent anyway. Uncle Jaime then hangs himself, prompting Viridiana to return to the estate to devote herself to a life of good works tending to the village poor. Her virtuous plans are again interrupted, however, this time by the arrival of Don Jaime's illegitimate son, Jorge (Francisco Rabal) who, like his father, hopes to seduce Viridiana. By the end of the film, Viridiana is a changed woman. Nearly fifty years after its release, Viridiana remains compelling cinema, setting a standard against which most other films fall short. As with most "classics," it improves with multiple viewings, and Buñuel's genius becomes even more evident.
The newly restored Criterion edition offers a high-definition digital transfer, video interviews with Silvia Pinal and author Richard Porton, excerpts from a 1964 episode of Cinèastes de notre temps on Luis Buñuel's early career, the U.S. trailer, and improved English subtitles.
G. Merritt
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Viridiana |
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Perhaps the crowning achievement in Buñuel's oeuvre, "Viridiana" details the efforts of a virtuous former nun to minister to the poor after she's irrevocably changed by a fateful encounter. As you might expect from Buñuel, a lifelong critic of church, state, and bourgeois society, the effort is disastrous, culminating in a black-comic tableaux of decadence in which the petty, spiteful miscreants and beggars take over the mansion. The infamous recreation of Da Vinci's "Last Supper" is only one of the myriad poetic images you won't soon forget. Pinal is a radiant presence, especially playing off rugged Rabal, as Don Jaime's libertine son, who inherits the estate along with Viridiana. Banned in Spain until 1997 for blasphemy and ostensible obscenity, "Viridiana" is a brilliant, cutting examination of faith and depravity by a Spanish master. |
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