El

1953 [SPANISH]

Drama / Romance

0
IMDb Rating 8 10 5068

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Synopsis


Uploaded By: FREEMAN
July 25, 2020 at 12:14 AM

Director

Cast

720p.BLU
844.65 MB
988*720
Spanish 2.0
NR
23.976 fps
1 hr 31 min
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Movie Reviews

Reviewed by zetes 9 / 10

The green monster rears its ugly head

SLIGHT SPOILERS

El is similar in style to other productions made by Bunuel in Mexico. It reminded me of both Los Olvidados and Nazarin. Unlike in the early or late films, the style is more realistic and more akin to melodrama. In fact, all three of these films each contain a single surrealist scene. Los Olvidados has the dream, Nazarin has the fantasy where the wife bites off her husband's lower lip, and El has, well, El's surrealist moment comes near the end and is too good to give away. If you've seen the film, I'm sure you know to what I refer.

El can be divided up into three easily identifiable sections, each about a half-hour each. The first is told from the point of view of an aristocrat who catches sight of a beautiful woman in church. It's love at first sight, but he soon finds out that she is the wife of a friend of his. At this point, I was fully expecting a cheapy adulterous romance picture, a soap opera. That was the genre that was dominating Mexican cinemas at the time. Luckily, the film doesn't follow a predictable route. There is at this point an elipsis of time, as that first man runs into the woman. He innocently offers her a ride home. Grudgingly, she accepts. On the ride home, she tells him of how her husband's jealously is destroying her. He's an extremely paranoid man, and he has actually threatened to murder her on two separate occasions. She finds opposition everywhere as she is looking for help. The third section of the film is told from the point of view of the husband. His jealousy is starting to lead him off a cliff. The title of the film actually refers to him. "El" is the masculine, singular, definite article in Spanish.

Bunuel had a gift for endings. El's is as good as that of Nazarin or Viridiana. By the way, a bit of trivia about that final image: the actor in the cloak at the end of the film, walking down the path, is not the same one who played Francisco in the rest of the film. It's Bunuel. 9/10.

Reviewed by craigjclark 9 / 10

A treat from Bunuel's Mexican period

Made in 1952, between "Robinson Crusoe" and "Wuthering Heights," this may not be one of Bunuel's major films, but it contains several of his key themes and recurring images, starting with the ceremonial washing and kissing of feet. The film also goes into the politics of submission and domination, the effects of long-term sexual repression, and -- of course -- sewing.

Bunuel understood obsession and was able to convey it on screen like no other director. As irrational as his characters can get (and Francisco gets plenty irrational in this film), Bunuel knows that we all have our hangups which seem normal to us, no matter how grotesque they may look to an outside viewer. (There's a reason why the alternate title for this film is "This Strange Passion.")

Reviewed by rudronriver 10 / 10

The Discreet Charm of the Jealousy.

As his most technically accomplished Mexican-period movie, and almost a mainstream one, this film can be an enjoyable first introduction into Buñuel's obsessions: the same ones that ruled the surrealistic movement. The underground psychological streams in the mind are finely expressed in this story of a pathological jealous and his victim. In his Mexican exile, Buñuel was forced to make "nourishing movies", that were the most conventional ones in his filmography, but he managed to smuggle his surrealistic ideals into all of them (even he could make the absolutely surrealistic "The Exterminating Angel").

Based on an autobiographic novel by Spanish fellow countrywoman Mercedes Pinto, this film is the vehicle for displaying many marvelous surreal moments. It can also be viewed as a brilliant clinical recreation of paranoid distress, but Buñuel recognized that the protagonist, Francisco Galván, although insane, had many of his own obsessions: his view of love as an absolute imperative, the violent impulses, the fetishism for female feet…The story shifts from one point of view to another, which is the only way to understand the "two stories" in psychotic disorders.

Part of the story and many of the ideas were used later by Hitchcock for his masterpiece "Vertigo (From among the dead)". It is difficult to say plagiarism when talking about cinema, but this would be one occasion for it. It is not coincidence that both directors share a taste for the expressive properties of objects (not only as Macguffin); as two reluctantly catholic directors, objects usually act as "sacraments" for their narrative. In "El" the church and its symbols are the background for the repression and the blooming of instincts; other Buñuel's stories may be more connected with religion than this one, but "El" shows a life absolutely permeated by the relationship of primary impulses ("eros" and "thanatos") with spiritual transcend ency. With churches as the setting of the key moments of the story (desire, love encounter, the urge for murder, disappointment), church is at the beginning and the ending of this story narrated by the man who said "Thank God, I'm an atheist".

Although was filmed in three weeks, in the midst of the limitations of Mexican film industry, the movie is close to perfection in formal terms. In contrast with his previous movies, in which a still camera was predominant, in this one the camera movements are constant. The performances and the choice of cast is the most accurate of the Buñuel's Mexican-period.

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