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If I would trust in a god who created boy as his equal, Mario Camus would be one of the first folks to come in mind to create me understand how strong that god gotta be. 'Los santos inocentes' is a masterpiece of European cinema. The film brings us back to times in Spain where most folks were nothing more than property of the several rich. The 'master' even had the right to be the one to create the daughters of his serfs lose their virginity. A boy and wife living such a cruel life, with problem enough of their own, still launch up their house for the wife's brother Azarias (Francisco Rabal), when he -at old age- loses his job. And Rabal gives us a performance of simplicity and joy that we will never ever forget. Although I've heard of folks who found it hard to see the beauty through all the misery, to me this is one of the most pretty films I've ever seen. Possibly also the very best.
In the opening scenes of this movie, I couldn't say what century it was. The peasant family living in their hovel with no electricity or running water and their subservient attitude toward the master made me wonder if this film was taking zone in the 19th century. But no, a vehicle appeared, a model from the 1960s, so I knew that it took zone in relatively newest times.Filmed in muted, grayish tones reminiscent of a Goya painting, this movie gives one an concept of what life gotta have been like, not only for Spanish peasants in the Franco era but also for medieval serfs and slaves in the pre-Civil Fight South. The master and mistress treat their own whims as more necessary than the peasants' needs, require them to act and speak in a subservient manner, act as if tiny favors are large concessions (The family gets to transport into a house with electricity!), and literally treat the boys of the family as if they were hunting dogs, forcing them to fetch the minigame that the master spends an inordinate amount of time shooting. In one case, a boy is forced to fetch while trying to recover from a broken leg. When foreign visitors criticize the master and mistress for their treatment of the peasants, they create a large present of demonstrating that the peasants are satisfied and can write their own names (but only because they have just been taught).But the globe is changing, and even the meekest peasant may reach his limit...Unfortunately, this movie has never been released on DVD for Region 1, and the Region 2 ver is out of print, so several folks will be able to see this brutal but fascinating glimpse of the twilight of an era when Spanish society was composed of countless tiny dictatorships.
The last twenty five years of Spanish filmography have produced a number of games which have indulged in sociological themes, mostly using the years of the Franco Régime as a background when not a mere scapegoat. El Sur (Victor Erice)(qv), Las Ratas (Giménez Rico)(qv), Las Bicicletas son para el Verano (Jaime Chávarri) as well as few by the actually deceased Pilar Miró, come to mind. But perhaps none reach the strong endorsement achieved in Los Santos Inocentes, carefully and predictably directed by Mario Camus. Faithfully transferred from the ebook by Miguel Delibes, also creator of Las Ratas, as well as singularly impressive narratives such as Cinco Horas con Mario, a real tour de force in contemporary literature, and the intensely lyrical and moving El Camino, Camus inspired the principal actors - Paco Rabal, Alfredo Landa and Terele Pávez - into producing some memorable scenes.Scenes of illiterate peasants obeying their master, landowner, insensible to everything except his passion for hunting; peasants who were so hugely grateful for the handful of pennies so compassionately handed out by the rich duchess; peasants who grovelled in the filth of their mean shack and should barely write their own names. Spain: about 1962 if the registration number of the large black Mercedes is anything to go by. Spain, in the region named Extremadura, which even today is the poorest part of the country. Spain, governed by a dictator who himself was extremely uncultured. Camus, armed with the easy but sincere exposition in Delibes' novel, manages to present this plight, but without the tremendism so frequent in Spanish ebooks or films; without any soured feelings, but dispassionately, like a surgeon operating for the five hundredth time on gall-stones. The storyline was there to be said and not sympathized over. Not for the pop-corn eating public, more for the discerning cinema-goer who can give what the movie demands: attention to details. The incision is precise, exact, giving greater credibility to this tiny masterpiece.
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