"Cela S'Appelle L'Aurore" (1955) :the priest ,in the luxury of the bourgeois house ,can do nothing for the poor proletarian who has lost house ,wife and job......
"La Mort En Ce Jardin"(1956) :in the first part,the priests sing "Alleluia" in their churches when the dictatorship kills outside.....Later the heroes lost in the jungle will light a fire ,with the pages of the Bible!
But It was "Nazarin"(1958) which must be considered Bunuel 's greatest achievement as far as this subject is concerned.The whole movie deals with the life and times of a priest ,at odds with his hierarchy ,who tries to live like a saint and who will only get a pineapple (sexual symbol) at the end of his pitiful adventure.
"The Young One" continued in that vein.Although the priest is absent in the first hour,it's him who finally invents right and wrong as a doctrinaire religion imposes them on (more or less) innocent characters. The scene when the girl wants to bury grandpa with a bottle whiskey has something of all the old ancient pagan religions.Isn't it better than a cross?
My favorite scene remains that of the baptism,the girl's so-called golden key.It's almost a comical scene as the priest washes the body in the water and takes away the young one's sin.
It' a golden key to a rotten world:the black man understood that a long time ago ,he does not expect anything anymore from the white justice: this is not the part of a black man you could see in Hollywoodian flicks in 1960,no Uncle Tom and no Sidney Poitier style either..
"The young one' is a good movie,but I would not rate it as high as "Viridiana" or "Nazarin" the two greatest Bunuel achievements of the 1955-1965 era.
"La Mort En Ce Jardin"(1956) :in the first part,the priests sing "Alleluia" in their churches when the dictatorship kills outside.....Later the heroes lost in the jungle will light a fire ,with the pages of the Bible!
But It was "Nazarin"(1958) which must be considered Bunuel 's greatest achievement as far as this subject is concerned.The whole movie deals with the life and times of a priest ,at odds with his hierarchy ,who tries to live like a saint and who will only get a pineapple (sexual symbol) at the end of his pitiful adventure.
"The Young One" continued in that vein.Although the priest is absent in the first hour,it's him who finally invents right and wrong as a doctrinaire religion imposes them on (more or less) innocent characters. The scene when the girl wants to bury grandpa with a bottle whiskey has something of all the old ancient pagan religions.Isn't it better than a cross?
My favorite scene remains that of the baptism,the girl's so-called golden key.It's almost a comical scene as the priest washes the body in the water and takes away the young one's sin.
It' a golden key to a rotten world:the black man understood that a long time ago ,he does not expect anything anymore from the white justice: this is not the part of a black man you could see in Hollywoodian flicks in 1960,no Uncle Tom and no Sidney Poitier style either..
"The young one' is a good movie,but I would not rate it as high as "Viridiana" or "Nazarin" the two greatest Bunuel achievements of the 1955-1965 era.