Against the censure of the Catholic church, Carlos Carrera’s THE CRIME OF PADRE AMARO is the all-time box office champion in Mexico of its time and reaps appreciable international clout as a final nominee of Oscar’s BEST FOREIGN LANGUAGE FILM.
Transposing Eça de Queirós’ 19th century titular novel to the present day. the film tears into Mexico’s Catholic Church with both barrels, most blatantly for the depiction of a deluge of corruptions and scandals inside the Church: fornication, money laundering, transaction with local drug lords, internal friction and the most harrowing, the disinterestedness towards those who are in distress (like the wretchedly disabled).
Phrasing the term “crime” instead of “sin” in its title, it betrays that the wrongdoings committed by the young Father Amaro (Bernal) is profane rather than religious, his torrid carnal knowledge with a young, impressionable Catholic girl Amelia (Talancón) is not the “crime” here, but a venial sin, the true crime lies in its tragic aftermath, where we can see Amaro suppresses his conscience in order to pursue benefice, his vocation, this reveal of opportunism is the last nail in the coffin, before you become a man of clothes, you should first be a decent man, that is a prerequisite breached by most of these clergymen. In Amaro’s case, it is so easy to get off the hook of his crime, so he takes the low road and shows almost no compunction, it makes him a hypocrite, a coward that Bernal tries to relate us to his dilemma, but to little avail because his conducts are beyond the pale, also the abortion subplot is musty, its final pro-life snide is a sellout.
It is a priest’s clash between divinity and humanity Carrera sets to explore, and it takes guts and canniness to take the Church to task and stay afloat afterwards, but the entire affair progresses in a lackluster pace, larded with soapy theatrics, emotion is written all over one without finesse (Luisa Huertas’ happy-clappy Gorgon is so repulsive that it can breed misogyny). In the event, what is left valid is a muted outcry, innocence is lost, commission goes unpunished, with a corrupt elder priest expressing his disgust to his young successor as the final fade-out, is it a pot calling a kettle black? THE CRIME OF PADRE AMARO is an Ibero-American cause célèbre, but its bark is worse than its bite, a curate’s egg whose original luster has been etiolated.
referential entries: Fernanda Valadez’s IDENTIFYING FEATURES (2020, 7.3/10); Luis Buñuel’s VIRIDIANA (1961, 8.2/10).
Title: The Crime of Padre Amaro
Original Title: El crimen del Padre Amaro
Year: 2002
Genre: Drama, Romance
Country: Mexico, Spain, Argentina, France
Language: Spanish
Director: Carlos Carrera
Screenwriter: Vincente Leñero
based on the novel by José Maria de Eça de Queirós
Music: Rosino Serrano
Cinematography: Guillermo Granillo
Editing: Oscar Figueroa
Cast:
Gael García Bernal
Ana Claudia Talancón
Sancho Gracia
Angélica Aragón
Luisa Huertas
Andrés Montiel
Damián Alcázar
Ernesto Gómez Cruz
Lorenzo de Rodas
Verónica Langer
Pedro Armendáriz Jr.
Gastón Melo
Fernando Becerril
Rating: 6.4/10
Gael García Bernal无感再+1,之前是他出演el che的摩托日记,开场段落马上想起chicuarotes,之后再无印象分
下完不知几年了终于想起看了。。。。。所以结局就这样不了了之?男版神父禁恋就不会有这种问题
比小说强很多~我挺喜欢这片的结局的。。。
只有与毒枭同流合污的神父Benito和疑似帮助游击队的“叛逆”神父Natalio算得上有较完整丰满的人物塑造,其他角色包括男主基本都只是导演用来“控诉”教会腐败黑暗的工具人。
本片获第75届奥斯卡最佳外语片提名。善良么?善良为什么做这般道貌岸然的事情。虔诚么?虔诚为什么去勾引誓言独身的人。还母女都有这种嗜好。最后还是那句总结,人人都有罪,只是你自己不觉得。
El unico infierno es la soledad.
public sphere.........= =
难得的是这样的片子他可以做到如此让人享受的表演
墨西哥;剧情;宗教;人性
90年代墨西哥小镇风土人情,小镇人保守陈旧的宗教观念,教会修医院和毒枭洗钱纠缠不清,政治也参与其中,激进教士支持山村游击,陈腐的教士在上帝面前沉沦于欲望之中。视角当然是旧世纪的俗套视角,展现那么遥远土地上的生活细节也是很有意思。看这电影,就想把看了一部分的《荆棘鸟》搬出来看了。
盖尔加西亚神似antton harri
太难了。在那片土地上,信仰不仅要和人的本能斗争,还跟政治、毒品与革命紧紧纠缠在一起。信仰或许确能抚平伤痛,但同时它也在制造着苦难。
想看了很久,只找到小说,不过后来意外买到了碟。还可以啦。
这种不知名的片子没人做字幕的 都是机翻 弊端是时间轴对不上 都演过去5分钟了才是刚才字幕 下了好几个版本全这样 所以没有看完。看评论不少人夸男主颜值的 我觉得连中等都够不上 可能我比较讨厌愣的
视听语言同样娴熟,墨西哥商业电影看来训练有素啊,据说很卖座。剧本尚有瑕疵,也许有点主题先行,里面不断提到忏悔,其实宗教也是原罪的一种,而不是自外于它的发明。以及,被墨西哥导演反复使用的虔诚而邪乎的老女人是不是有点巫婆的意味?还有,这个安娜真是墨西哥女神级别的容貌和身体啊!
神父对信仰的忠诚,对爱欲的挣扎。靠,绝对是我的终极性幻想(同不同的倒无所谓)。
西班牙民族的个性基本上就是个炸弹,野马,放纵得不可思议,如果再没有严格的天主教教义约束,真不知道他们会弄出什么堕落。
关于一个神父的故事,本该禁欲的他却和她发生关系,女孩因流产而丧命的故事。 看了让人觉得社会,男人都不可靠
堕胎请认准国营医院.
還不錯的劇本,有一些頗具思辨性的內容;加西亞貝納爾早期主演的作品,那時的他尚未成長爲拉美首屈一指的影壇大將,但在本片中還是能感覺到他非凡的鋒芒;(以個人審美來看)女主角形象十分迷人,演技也超出一般新人水平,完全有躋身頂級影星之列的條件,卻再無佳作,不知是何緣故