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Adapted from Benito Pérez
Galdós' novel and filmed in Mexico City and
villages in the Cuautla region, Nazarín
draws a sensitive portrait of a naïve and ineffective
Catholic priest living among whores, beggars, and
thieves in the early 1900's. One of Buñuel's
favorites, Nazarín
was reasonably successful, winning the 1959 Grand
Prix International award at Cannes. In his autobiography,
Buñuel
notes that it nearly received the Prix de l'Office
Catholique as well, with three jury members passionately
arguing its case, "but, happily, they were
in the minority."
Catholics who think this film sympathetic must be
watching in a fog because it showcases the gentle
priest Nazarin (Francisco "Paco" Rabal) as a delusional
fool who does more harm than good for the people
he tries to help. Despite daily robbings, the priest
refuses to lock his door in the belief that resources
should go to the ones who need it the most and,
being sworn to a life of poverty, everyone
needs his clothes and coins more than he does. That
can be seen at different levels--while some deem
Nazarín
a "saint" others see his attitude
as weakness and just take advantage of his generosity.
The final alms-giving scene, in which the confused
Nazarin is truly destitute himself, indicates that
his previously proud "righteous" begging
primarily serves to feed his own ego and represents
little more than false humility--much like Simon's
supreme asceticism freak shows in Simon
in the Desert.
After befriending the suicidal Beatriz (Marga López),
Nazarín
inadvertently hides her sister Andara
(Rita Macedo) when she is knifed by La Prieta (Rosenda
Monteros) in a "cat" fight. The priest
doesn't know what to do other than provide refuge,
but this leads to eventual housefire disaster, and
Nazarin hits the road with both Beatriz and Andara
dolefully following like modern day disciples. Both
women are devoted to him, and Nazarin dispenses
spiritual counsel freely, as he does with the troubled
Andara:
"What
you've got is not witchcraft or demons. It's a well-known
sickness which comes from the imagination. Through
the imagination it must be cured. Besides a healthy
life and exercise helps overcome sadness. Pray,
and I say it'll go away."
One of the stronger and telling scenes occurs in a small village besieged by the plague. When the mayor tells Nazarin that any house is a good place to begin if he wants to help, he finds a young dying wife name Lucia and attempts to get her to visualize the kingdom of Heaven. She rejects his spiritual advice, asking only for her husband and lover, Juan, and the dejected priest can only leave her side after a fruitless endeavor.
Once again the church is visualized as an impotent force in the midst of so much misery, a theme continued with Nazarín's travels. An offer to work for extremely low wages leads to worker-management dispute and bloodshed, and his innocent intentions of travelling and teaching the two women are looked upon as scandalous by the church itself, but Buñuel questions larger notions of spirituality as well. In his autobiography, he states,
"In
the end, belief and the lack of it amount to the
same thing. If someone were to prove to me--right
this minute--that God, in all his luminousness,
exists, it wouldn't change a single aspect of my
behavior. I find it rather hard to believe that
God is watching me every second, that he worries
about my health, my desires, my mistakes."
This is directly illustrated by the prisoner labeled "good" when he
protects the helpless priest from thugs when he rejects
the idea that he has acted nobly. Buñuel
also blurs distinction between the spiritual and secular
world when dealing with love. Nazarín
states that he "loves" both women
[platonically], ironically stating this while picking
up a snail to indicate his sensibilities about truly
loving all creatures. Buñuel doesn't dispute
his mindset; however, both women are shown to have
sexual desires for the priest. Andara is the more
obvious, but she's not that obsessed with only Nazarín--she's
perfectly happy with the sexual advances of a dwarf
named Hugo (Jesus Fernandez) and later hits on the
prisoner who had protected the priest. Beatriz is
the more interesting love case—when she describes
Nazarín's "sainthood," her mother
instantly recognizes that her daughter is actually
in love with the priest, causing shocked hysterical
cries of "It's not true!"
Ah, but it is. And Beatriz equates sexual thoughts
with sinfulness, so her attachment to the priest ends,
and she returns to her abusive boyfriend Pinto (Noé
Murayama). The surreal moments are relatively few
in this wonderfully acted and underviewed masterpiece,
a very typical Buñuel
work that provokes questions about the role of religion
in our lives that reflects his own thoughts: "Since
I reject the idea of a divine watchmaker...I must
consent to live in a kind of shadowy confusion."
Whether or not you agree with Buñuel's
cynical outlook, the film artist leaves plenty of
ambiguity in Nazarín
to spark lively post mortems.
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