Really Surprised!

It's easily one of the freshest, sharpest and most enjoyable films of this year.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Exactly the movie you think it is, but not the movie you want it to be.

Luis Bunuel's "Nazarin" will always be remembered as a great film because it is absolutely honest in its presentation of comical assault on religion.It is one of those outstanding films which must be shown to all people especially young children in order to familiarize them with the notions of good and bad,sacred and evil.The toughest question asked by "Nazarin" is about the strengths and weaknesses of organized religion.It has been tackled by involving numerous ordinary people who are not at all above petty affairs in their mundane lives especially sins.Bunuel scores tremendously by showing us that various questions related to class differences deserve frank,honest and reliable answers. Nazarin appears credible as it has been made in a light,comical vein.This is the sole reason why it can be said that the story of an ordinary priest appears absolutely true to life to all audiences.It is amazing how Bunuel approaches quest for true love issue in his film. This black & white gem was shot marvelously by Gabriel Figueroa,one of Luis Bunuel's favorite cameraman.Film critic Lalit Rao saw "Nazarin" at Trivandrum,India during 13th International Film Festival of Kerala 2009."Nazarin" was introduced by eminent Indian cinema personality Mr.P.K.Nair as part of a special package called "50 years ago".This is a film which should be with any discerning DVD collector.

A blackly comic tale of a down-trodden priest, Nazarin showcases the economy that Luis Bunuel was able to achieve in being able to tell a deeply humanist fable with a minimum of fuss. As an output from his Mexican era of film making, it was an invaluable talent to possess, with little money and extremely tight schedules. Nazarin, however, surpasses many of Bunuel's previous Mexican films in terms of the acting (Francisco Rabal is excellent), narrative and theme.The theme, interestingly, is something that was explored again in Viridiana, made three years later in Spain. It concerns the individual's struggle for humanity and altruism amongst a society that rejects any notion of virtue. Father Nazarin, however, is portrayed more sympathetically than Sister Viridiana. Whereas the latter seems to choose charity because she wishes to atone for her (perceived) sins, Nazarin's whole existence and reason for being seems to be to help others, whether they (or we) like it or not. The film's last scenes, in which he casts doubt on his behaviour and, in a split second, has to choose between the life he has been leading or the conventional life that is expected of a priest, are so emotional because they concern his moral integrity and we are never quite sure whether it remains intact or not.This is a remarkable film and I would urge anyone interested in classic cinema to seek it out. It is one of Bunuel's most moving films, and encapsulates many of his obsessions: frustrated desire, mad love, religious hypocrisy etc. In my view 'Nazarin' is second only to 'The Exterminating Angel', in terms of his Mexican movies, and is certainly near the top of the list of Bunuel's total filmic output.

I love the absurdity and biting humor of Buñuel's surrealist films (such as "The Discreet Charm of the Bourgeoisie" and "The Exterminating Angel", to name two). Other, earlier works (like "The Forgotten Ones", about juvenile delinquents from a marginal neighborhood in Mexico) are more serious and provide a strong social message.However, I believe it is "Nazarin" which most successfully shoots for the heart of the viewer. While it's true that it's brimming with irony, it nevertheless reveals an aspect of Buñuel which would appear to be intrigued by the beauty and solemnity of the spiritual quest. Here, while the director (quite typically) throws countless jabs at the Catholic Church, he also appears to show, surprisingly, a sense of admiration for genuine Christian thought and its practice of selfless love."What?? Luis Buñuel unabashedly praising a Jesus-like figure??" I always thought of him as a completely cynical artist without a trace of faith in human virtue... that is, until I watched "Nazarin". My appreciation is that he satirically exposes the difficulty of following Christ's example in a society infested with meanness, ignorance and sin; but he also presents the hero, Father Nazario, as quite the beacon of light amidst a sea of darkness. Without a doubt, by the end of the film I was looking up to him and not down on him! Some would argue that Father Nazario's doubts regarding his faith point to the loss of his saintly values. (Alas, if he can't do good in this world, who can?) But I would say that this "flaw", his frustration, precisely makes his character all the more heroic, because it shows how human he is and how challenging his struggle within must be. And who says the priest couldn't eventually emerge from that "dark night" and regain his confidence? Perhaps we've only been presented with a difficult part of his spiritual journey. The elegant, open ending allows us to imagine ourselves what the final outcome of the story might be like.I recognize in Buñuel the aggressive, self-professed atheist endowed with brilliant wit and social awareness; but after having watched "Nazarin", I also sense from him a certain warmth, a depth and maturity that's not so evident in his other work.For the sake of contrast, I strongly recommend watching afterward his short film "Simon of the Desert" (also made in Mexico, several years later). It deals with a similar subject matter – the surrender of the ego in the face of temptation –, only it does so in a hysterically funny and totally irreverent style.

A priest attempts to live as close to the word of God but gets shafted for it by the peasants, the church and the authorities. Only a prostitute and a woman in search of love follow his steps. It has a powerful message but delivered in a tame way because of the politics of the time.