Los olvidados (1950)

Calificación de los usuarios:

8.1/10   

Director:

Luis Buñuel

Escritores:

Luis Alcoriza (writer)
Luis Buñuel (writer)

Fecha de Lanzamiento:

24 marzo 1952 (USA)

Género:

Crimen | Drama

Plot:

A group of juvenile delinquents live a violent and crime-filled life in the festering slums of Mexico City...

Plot Keywords:

Mexico | Mexico City | Slum | Delinquent | Beggar

Premios:

Nominated for BAFTA Film Award. Another 12 wins & 4 nominations

Comentarios de los usuarios:

Neo-realism with an extra gear

Reparto

Estela Inda	...	La madre de Pedro
Miguel Inclán	...	Don Carmelo, el ciego
Alfonso Mejía	...	Pedro
Roberto Cobo	...	El Jaibo
Alma Delia Fuentes	...	Meche
Francisco Jambrina	...	El director de la escuela granja
Jesús Navarro	...	El padre de Julián (as Jesús García Navarro)
Efraín Arauz	...	Cacarizo
Sergio Villarreal
Jorge Pérez	...	Pelon
Javier Amézcua	...	Julián
Mário Ramírez	...	Ojitos

También conocida como:

The Forgotten Ones (International: English title) (literal title)
The Young and the Damned

Duración:

85 min | USA:80 min | France:77 min (DVD)

País:

Mexico

Idioma:

Español

Color:

Negro y Blanco

Relación de Aspecto:

1.37 : 1

Sonido:

Mono (RCA High Fidelity Recording)

Clasificación:

Germany:16 | West Germany:16 (f) | UK:12 (2007) | UK:X (1952) | Finland:K-16 | Sweden:15 | Argentina:16 | France:-16

Locaciones de Filmación:

Estudios Tepeyac, Mexico City, México D.F., Mexico

Compañía:

Ultramar Films

Trivialidades:

When it was released in Mexico in 1950, its theatrical commercial run only lasted for three days due to the enraged reactions from the press, government, and upper and middle class audiences.

Citas:

Don Carmelo, el ciego: I hope they'll kill every one of them before they born!

Conexiones de Película:

Referenced in Film Geek (2005)

Neo-realism with an extra gear

Where do I start? Perhaps, by writing WOW a few hundred times in a row...

The very opening shots and voice-over warn us that this was not an optimistic movie. It instantly made me believe this would be Las Hurdes in Mexico, something like a fictionalised version of Buñuel's 1933 faux-documentary about the extreme poverty of the peasants in the remote Spanish Las Hurdes region. In the first half hour, Los Olvidados's mood and style remained faithful to the influence of several Italian neo-realist movies I'd seen, namely De Sica and perhaps some early Pasolini (namely, Accattone). In a looser sense, maybe also Mira Nair's Salaam Bombay! seemed to have gotten some inspiration from Buñuel's movie. And finally, I could also and more obviously see that Fernando Meirelles's Cidade de Deus (City of God) owed more than a little to this 1950 masterpiece. I love it when I finally get to see the movie that has influenced so many other (usually minor, but more famous) films that have followed it even several decades after its release! Los Olvidados would still have been an excellent film, even if it had remained Italian neo-realistic-like till the end. But to my delight and wonder, it became something much more unique and memorable as soon as its own distinct, Buñuelian flavour kicked in halfway through, IMO elevating this picture to something more than "just" powerfully gritty and cinematically honest (as can be said and admired in the works of De Sica, Rossellini et al). To be honest, though I AM Italian and the spirit of neo-realism is somehow deeply embedded in my cultural subconscious, my problem with the Italian neo-realists has always been their lack of vision, or refusal to also venture into the otherworldly, the spiritual, the dream-like, the allegorical. Though I bow before the greatness of the Italian neo-realist masters, I will never feel completely conquered by their otherwise mesmerising pictures. Before watching Los Olvidados, I was never quite sure of the reason for this. With this movie, Buñuel has finally put his finger on exactly what I've always found was missing in pictures like Sciuscià, Accattone and Roma Città Aperta for them to truly get not just under my skin, but into my wildest dreams and imagination as well - an ability to interweave the fantastical in something that couldn't be more grounded in reality. Yet, why can't the lives of the underprivileged underbelly of the world, in this case a Mexican shantytown of the late 40s, also evoke magic? Is the fantastical only a privilege of the bougeoisie? I think not! Thank you, Buñuel, for inspiring me into thinking about this...