Él – Criterion

Director: Luis Buñuel
Screenplay: Luis Buñuel, Luis Alcoriza (adaptation)
Based on a Novel by: Mercedes Pinto
Starring: Arturo de Córdova, Delia Garcés, Aurora Walker, Luis Beristáin, Carlos Martínez Baena, Manuel Dondé, Rafael Banquells
Country: Mexico
Running Time: 93 min
Year: 1953
BBFC Certificate: TBC

In my review of Radiance Films’ excellent ‘Nothing is Sacred’ set, I wrote about Luis Buñuel’s Mexican period, following his exile from Spain after the Civil War. The films included in that set marked a sort of transitional period in the writer-director’s career, when he started to move towards making more internationally recognised ‘art house’ productions. Prior to Viridiana though, between 1947 and 1960, Buñuel was busy making what might be called ‘commercial’ films in Mexico.

Whilst a number of the films he made during this period have largely (and possibly unfairly) been dismissed, there were several acknowledged masterpieces scattered among them. One of these is Él (a.k.a. This Strange Passion). Though it screened at Cannes in the year of its release, the initial reception was poor. However, its stature has risen dramatically over the years and now it’s rightfully regarded as one of Buñuel’s best films from his Mexican period.

Celebrating Él are The Criterion Collection, who are releasing the film on UHD & Blu-ray. Having adored the ‘Nothing is Sacred’ set, I jumped at the chance of reviewing this new release.

Él is a psychological drama that explores obsession, jealousy, and moral hypocrisy within the guise of bourgeois respectability. The film follows Francisco Galván de Montemayor (Arturo de Córdova), a devoutly religious and wealthy bachelor whose outward ‘respectability’ masks a deeply disturbed and paranoid psyche.

When Francisco meets Gloria (Delia Garcés) at a church service, he becomes infatuated with her and soon persuades her to marry him, despite her being previously engaged to his friend, Raul (Luis Beristáin). At first, their marriage appears idyllic, but Francisco’s pathological jealousy quickly surfaces. He begins to suspect Gloria of infidelity without evidence, interpreting even the smallest gestures as signs of betrayal. His obsession drives him to increasingly erratic and cruel behaviour, oscillating between passionate devotion and violent mistrust.

As Francisco’s paranoia deepens, he subjects Gloria to humiliating accusations and emotional torment, ultimately isolating her from friends and family. Coming across Raul one day, she confides in him and plots to free herself from his grip.

Buñuel calls Él one of his most personal films. The filmmaker was supposedly very conservative in his personal life and his wife, Jeanne Rucar, suggested in her memoirs that he saw something of Francesco in himself. The couple were married for forty-nine years, until Buñuel’s’ death, and she claimed he couldn’t hurt a fly, so I don’t think she was suggesting he was as abusive as Francesco, but the filmmaker shared the jealousy and paranoia of the character. As such, it seems a brave move to explore these problems so openly. It also might go some way to explain why Francesco isn’t made out to be a complete monster from start to finish. His actions as the film moves on do become unforgivable, but he starts out relatively relatable, if a little manipulative, and we see him suffer a mental breakdown later on, due to his disturbed mind. It’s a film about psychosis and paranoia, as much as it is about abuse. This makes the film more compelling and intelligent than the relatively straightforward premise suggests.

The focus shifts too, as the film moves on. We begin by seeing most of the story from Francesco’s point of view but later it shifts towards Gloria’s. This new perspective is when we truly see the darker side of Francesco, though there are certainly flaws in his character from the start.

I also saw Él as an early look at toxic masculinity. Our male protagonist is used to getting what he wants. When he doesn’t, he manipulates those around him to turn the tables using his influence and imposing presence. Another related factor that plays into his breakdown is an ongoing legal battle Francesco is fighting to reclaim inherited land/property that he believes has been taken from him. Like his marriage, this crumbles as the film goes on and his fragile ego can’t handle it.

Buñuel is best known as a surrealist director but Él has very few of the surreal touches he’s famous for. The only thing that comes close is Francesco’s breakdown in the climax of the film (apologies if this is thought of as a spoiler). We see the world through his eyes, as the people surrounding him at church begin to laugh at and tease him. The shots of this abruptly switch between Francesco’s perception and reality (where they’re just getting on with the service with little regard for the man).

In an interview on the disc, Guillermo del Toro talks about how the film might have influenced Hitchcock, who was a fan of Buñuel, and I can see that. Obsession plays a key theme in Él, so it’s clear to see parallels between their work (though Hitchcock was already dealing with this theme by this point). More notably, there is a clear visual link to Vertigo in a climactic bell tower sequence and there are several other subtle connections between the films.

The film is beautifully crafted too. Buñuel’s visual storytelling is first-rate and the production design and use of locations perfectly match the film’s themes and tone. It also looks gorgeous, aided by Gabriel Figueroa’s beautiful photography.

Overall, Él is a dark, troubling, classily produced melodrama. It may not have the showy, surreal touches of Buñuel’s best known work but it still packs a punch.

Film:

Él is out on 24th November on 4K UHD & Blu-Ray in the UK, released by The Criterion Collection. I watched the Blu-ray disc, and thought that the contrast was well balanced, though the image is a little soft and slightly unstable in spots. The mono soundtrack has a little hiss, but this is common for films of this age.

Disc/Package: