"Deviant" Luis Bunuel (Luis Bunuel) has shot images that shocked countless audiences, such as the razor cut eyeballs in the short film "Andru Dog", the man dragging the grand piano, the ants crawling out of the palms, etc. , Is one of the representatives. Bunuel returned to China in 1961 to shoot "Viridiana", which seems to greatly weaken the surrealism of "Andru Dog", or abandon the rich lady and cow communism that appeared in "Golden Age" The extremely uncoordinated picture in the boudoir, but this movie with a causal logic relationship is excellent in that it does not need to rely on those jaw-dropping fantasy and dreams to reflect the absurdity of the world, all due to crazy things Often brewed in the "normal" reality.Through stories that can be understood by the public, Bunuel reflects the spirit of surrealism in a more "high chapter" from daily life. The movie "Gorgeous Diana" touched on some of Bunuel’s desires. In an interview, he mentioned that he was obsessed with Queen Victoria of Spain when he was a teenager, and hoped to steal into her bedroom and add drugs to her milk. And embracing her into her arms and other sexual fantasies; therefore, the protagonist Viridiana’s uncle Tang Haimei is actually a projection of Bunuel. His peeping at the little girl when jumping rope shows the director’s carnal paranoia (Bunuel’s sexuality Description, appearing repeatedly in her own works); and Tang Haimei likes to disguise, fetish and foot fetish, but also shows some of the director’s special hobbies (Boniuer had a girl obscenely Kissing or even sucking the toes of a statue; in his other "Maid's Diary", there is also a depiction of the old master's obsession with women's shoes). In addition, Tang Haimei, who has a tendency to abuse, has endured a lot of psychological pain. The age difference between him and Viridiana, the ethical and religious barriers, is like the fact that there is no real possibility between Bunuel and Queen Victoria when he was a teenager. The relationship is the same. Therefore, Viridiana's uncle is a frustrated character, and his liberation can only be after his death (this from the sleepwalking Viridiana on his bed, the fireplace ash that symbolizes confession and death has fallen, which has already hinted the ending of Tang Haimei); And the rope skipping closely related to it (Tang Haimei’s first appearance is in the next scene of the little girl skipping rope), although it is a tool for suicide, it is also a tool for people to play. Smiling, it is possible to reveal the "naughty" Bunuel's relaxed attitude towards death. In "Gorgeous Dianna", which involves the topic of "salvation/redemption", when Tang Haimei talked about her illegitimate son Jorge, he deliberately featured his actions when he rescued the drowning bee(?). Bunuel used this lens to show that Tang Haimei would not ignore his illegitimate child, but also echoed the plot behind Jorge buying it because he couldn’t see the puppy tied to the bottom of the carriage, and Viridiana’s sheltering beggars on the street. move. The benevolent Viridiana is like a saint, but the scene in which she is lying on the bed after being lost by Tang Haimei, and the scene of being raped by a beggar who she has contained in the end. Penis), which also embodies the "virgin prostitute complex" of director Bunuelcomplex). As mentioned in some analyses, this film carries the pain of separation between reality and desire or between reality and dream, and Bunuel also said in the interview, "This is the world in people’s minds, and the world is different from what it is. Disagreement between... Maybe Viridiana is like the female version of Don Quixote in some way, because Viridiana and Don Quixote are all dedicated to protecting others (Don Quixote protects others Prisoners going to the forced labor field), but they are attacked by those who protect themselves.” Viridiana, who has undergone two changes in the film, and "Nazarene" (1959) and "Simon of the Desert" (1965) The protagonists inside are similar, with similar idealistic qualities; while she and her cousin Jorge, who pursues efficiency in everything, can be said to be two opposite characters, but when Viridiana, who is violated by a beggar, is her witty cousin. After being rescued occasionally, it also represents the disillusionment of this idealism, and people always have to return to the world of rationality. At the end of the movie that has been modified for censorship, in addition to more cryptically speaking of Viridiana’s more radical betrayal of the doctrine (the ending with the door closed will remind everyone of the "non-ethical" sexual relationship between the two cousins, Up to now, the three-player game implies a more vulgar 3P relationship), and the scene of Viridiana entering his cousin Jorge’s room, implying Viridiana’s romantic ideals and "surrendering" in front of reality; but even if it is sensible to a bit cruel Cousin, when he saw the puppy tied under the carriage, he couldn't bear to move forward to save him. Director Bunuel used these details to prevent the role he portrayed from being one-sided or simplistic. Between Viridiana and his cousin, there may also be some things in common (some interpretations suggest that this implies the church and assets. Class connection or collusion), like Jorge who still has a benevolent heart. Although he criticized his cousin’s method of taking in twenty beggars as stupid (because there are still thousands of beggars waiting to be rescued), he himself The act of buying a puppy, like Viridiana's "stupid" approach, only saved one of thousands of such dogs in Spain. As for the lifelike beggar characters in this film, only the one who performed the leper is the "genuine" beggar. Bunuel used the filthyness and rogue of these beggars to set off the nobility and purity of Viridiana; it is conceivable that these beggars who were rescued in their lives were restricted to a certain extent by the benevolent Viridiana. The freedom we had originally possessed. In the movie where beggars and Viridiana pray, the director spliced chaotic construction scenes with serious and serious prayer shots. This not only destroys the atmosphere of prayer, but also satirizes the emptiness of prayer (compared to the reality of worker construction). ), also foretells that suppressing everyone's doctrines and dogmas will lead to counterproductive effects; and the cross-shaped knife once again emphasizes the destructive or lethality behind the benevolence of religion. The famous carnival passage of the film "Gorgeous Diana" is an explosion of suppressed beggars. When they stand or sit at the table in the big house, imitating the composition of Da Vinci’s "Last Supper", they sit in the painting. The person in the position of Jesus Christ is actually the most obscene and obnoxious blind among the beggars; Bunuel's ruthless jokes on religion, and the old-fashioned jokes that followed to imitate Spain-a female beggar said to be photographed In the "Last Supper" scene below, how did she know that she lifted up her skirt and used her "small camera" (sexual organs) to take a "photo" of her companions. Director Bunuel’s critique in "Gorgeous Diana" may not be the religion itself, but the corrupted clericalism of religion. At the beginning of the film, Viridiana asked Viridiana to visit her uncle's monastery, and Viridiana's own "faith bondage" (requiring them to pray together) on the beggars she rescued symbolized the compulsiveness of the religious authority. In addition, the uselessness or nihilism of the "atonement" mentioned in this film is not only reflected in Tang Haimei, who sincerely admits his mistakes but cannot be forgiven by his niece, but also manifests in Viridiana's desire to help the world, but in exchange for humiliation. . Bunuel, who is born to advocate freedom (as can be seen from his photographs), is deeply rooted in Christian culture since he was a child, but he opposes the shackles of religious power and disdains the false kindness of religion, and the film burns. Although the lens of the crown of thorns was explained by him as a tradition of burning old sacred objects, it can also be regarded as the real relief of the protagonist Viridiana. Bunuel, who has been in exile overseas for many years, returns to his homeland this time. He will naturally incorporate some feelings or thinking about his country into the movie. Like the deserted fields mentioned in the play, it is very likely to allude to the Franco government's long-term dictatorship. Spain; and the oppression of sectarianism in the film is like the suppression of authoritarian politics at that time (Spain became one of the most closed countries in Europe after Franco came to power). The pigeon scene (appearing in the carnival of beggars) inserted by Bunuel combined with local traditional culture is to send a strong signal of complaint about this. In the talk record of director Bunuel, it is said that when the script of the movie "Magnificent Diana" is sent for review, it only needs to change the ending to get the approval of the director of the National Film Center of Spain (Bonuel also changed as required. Who knew that after it won the Cannes award, it was banned for a full 16 years (until Franco's death) due to the re-examination of the centralized Spanish government. Bunuel, who returned to his home country, might think that new forces of change appeared when preparing and filming "Gorgeous Diana", but it turned out that under Franco's rule, everything was the same as before, and the atmosphere of suppression has not changed. . Bunuel, who experienced this incident, may be able to see the so-called "new power" transformation more clearly, just like Viridiana's move to save beggars. In the end, it was just a dream of masturbation, because "the world in people’s minds is the same as the original world. "The way it looks", there is already a serious disagreement.
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