Viridiana (1961)

☆ ☆ ☆ ☆ ½

Viridiana (1961) – L. Buñuel

Luis Buñuel’s return to Spain from Mexico was short-lived, after this film won the Palme D’Or at Cannes and then was subsequently banned by the Franco regime (whose censors had previously passed it).  Of course, the film is scandalous and shocking and it isn’t surprising at all that the Vatican also rejected it.  Silvia Pinal (brought over from Mexico) plays the title character, about to become a nun when she is called to her Uncle, Don Jaime’s estate.  Don Jaime (Fernando Rey, a Buñuel favourite) is so taken aback by the resemblance of Viridiana to his late wife (who died on their wedding day) that he drugs her and almost violates her, until he relents and commits suicide instead.  And that’s just the first part of the film.  Believing herself to have been compromised, Viridiana gives up the sisterhood but devotes herself to a life of charity, looking after the poor and infirm in Don Jaime’s mansion.  However, she has to share the house with Don Jaime’s illegitimate son, Don Jorge (Francisco Rabal) who has seduced the housekeeper and has designs on Viridiana too (after his girlfriend departs).  Don Jorge represents modernity, even as Don Jaime represented the past (lusting after the dead), and he seeks to rebuild and refashion the estate.  Buñuel’s acidic view of human nature is such that, when everyone has left the house to do errands, the beggars who remain descend on the kitchen and debauch themselves on everything available (allowing Buñuel to film them posed as though in Da Vinci’s Last Supper, a famous subversive shot). In other words, they aren’t grateful for Viridiana’s efforts – and, when this sinks in, she finally gives in to Don Jorge (or at least the final shot implies that she and the housekeeper join in a willing ménage à trois with him).  Clearly, Buñuel relished every moment of making this wickedly comedic film.