Viridiana

I don't know what to make of Viridiana, but then again it is a Luis Bunuel film, and most of his films are head-scratchers, even if they are brilliant films. The odd thing is, Viridiana is not surreal--it is a fairly straight-forward narrative--but it does have its creepiness and dim view of humanity.

Viridiana  (Silvia Pinal) is a novice in a convent. She is told by her mother superior that her only living relative, an uncle by marriage) who is also her benefactor, is dying and wants to see her. She doesn't want to go, preferring to never see the outside world again, but she is basically ordered to go.

The uncle (Fernando Rey), owns a farm that has been neglected. He has a dutiful servant (Margarito Lozano), who is probably in love with him, but he takes instantly to Pinal, because she looks like her aunt, his dead wife. He is so taken by her that he has her dress up in his wife's wedding gown (she died on her wedding night), and he ends up proposing to her. She is rightfully outraged, but Lozano drugs her so Rey can have his way with her, preventing her from returning to the convent. He doesn't go through with it, though.

So that is really creepy, but the film then takes a left turn. Pinal ends up inheriting the estate, along with Rey's illegitimate son (Francisco Rabel). He wants to make renovations and get the farm going again, she just wants to take in a group of paupers to give them charity. She is naive (one woman says she has a big heart, but another says, "yes, but she's nutty") while Rabal says she is "rotten with piety."

The paupers, though Pinal idealizes them, as many beggars are idealized in the Bible, are an irascible lot who bicker with each other. A blind man is sort of their de facto leader, who often steps in during squabbles, realizing they could all get kicked out. But when Pinal and Rabal leave the estate alone for a few days, their temptation gets the better of them and they throw themselves a big banquet, which leads to destruction and death.

Viridiana is certainly a blast at religion, or maybe just Catholicism (it was condemned by the Catholic church) but in what ways? The villains turn out to be the poor, who act ungratefully. Does Bunuel believe that acts of charity are wasted on the wrong people? Rabal, who seems to represent both sexuality and capitalism, is painted in a harsh light, but also may be the voice of reason (he is also shown rescuing a dog, indicating he is not without heart).

I'm sure this film did make waves when it was released in 1961 (it was a co-winner of the Palm D'Or that year), as showing a potential nun as a sexual being was not something that was discussed in those days. The ending, with Rabal and Pinal seeming to make a couple, was censored in many places.

I can't say that I liked this film. It was intriguing, if not satisfying as entertainment.