Bunuel's relation with religion was, shall we say, strained. Yet this most humane of his films could have come from the soul of Bresson, even if Bresson wouldn't have let you laugh as much. So maybe the right word isn't strained but complex. The message is that for all the Christian dogma, if a Christlike figure stumbled onto the scene today, he'd be crucified all over again. A message as Holy as it is Blasphemous.
Night carries yesterday's sorrow and the hope and joy of a new day. That's what death is like. Joyous and sorrowful. Joyous because it frees us of life's chains. And sorrowful because we love our flesh and it hurts us to leave it.
Excellent camerawork to simultaneously convey origin and exile. Highly symbolic with religious themes as present today as they were then. Bunuel's humble priest and simplicity of image express grace and acceptance.
84/100 - Great.
When I die and go to heaven, after I pass over the threshold and catch up with all the souls from life - who will I see but Bunuel, sipping a dry martini and arguing passionately with Michael over some arbitrary theological definition of the Eucharist. I'll introduce myself, we'll talk about his art. Then he'll take me aside, out of earshot of the saints, and whisper earnestly, "How the f*cking hell did I get here?"
The first of Buñuel (unofficial) religious trilogy and one of the last films of the director's Mexican period, Nazarín is a deceivingly simple film about faith and doubt, charity and superficiality. The ending is brilliant.
A film that deals with the origins of religion, it's misinterpretation of the logical views of a decent man and its further condemnation. Buñuel creates through Rabal a character, so rooted in its ideals, that he is unable to coexist in the real world, a world filled with men whose actions don't reflect their preachings and are unwilling to listen to reason.
This film is quite possibly Buñuel's finest hour. His mise-en-scene is absolutely outstanding, his scenario is simply brilliant, and Francisco Rabal turns in one of the greatest performances of all time. A vastly under-seen, vastly underrated masterpiece, to be sure.