Rossellini (The Flowers of St. Francis) and Bergman (Winter Light) have their variations, the noose that literally brings the house down ripples on to Lewis (Cracking Up) and Kusturica (Time of the Gypsies).
I fell in love w/ NAZARIN pretty much immediately. Buñuel never attempts to use saintliness to resolve the enigma of wickedness & sin. Rather, the director creates a startling &, at times, disturbing dialogue between these not entirely disparate elements. Sadism has its place, masochism has its place. We ponder the difficulty of willing selflessness into the fabric of reality. Yet NAZARIN never falls into defeatism.
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.
Being a "pure person" is going against society and how humans behave. Does that mean our genuine behavior is to be selfish and awful toward others ? Can we change that ? Hmm. It seems more that a pure person is an anomaly and is likely going to change side. Why is that ? This movie is a deep dive and introspect in human nature, and questions God.
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.