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The Young and the Damned / Los olvidados (1950) [ReUp]

Posted By: Someonelse
Date: 20 Dec 2014 15:21:00
The Young and the Damned / Los olvidados (1950) [ReUp]

The Young and the Damned (1950)
DVD5 | ISO | NTSC 4:3 | 01:16:50 | 4,18 Gb
Audio: Spanish AC3 2.0 @ 192 Kbps | Subs: English, French
Genre: Crime, Drama

Director: Luis Buñuel
Stars: Alfonso Mejía, Roberto Cobo, Estela Inda

The winner of two Cannes Film Festival awards, Luis Buuel's Los Olvidados (aka The Forgotten Ones and The Young and the Damned) was the director's first international box-office success. Yet Buuel showed no signs of curbing the outrageous iconoclasm that made him famous in Europe and South America; one of the more lasting images of the film is the clash-of-cultures shot of a glistening new skyscraper rising above the squalid slums of Mexico City. The story concerns a gang of juvenile delinquents, whose sole redeeming quality is their apparent devotion to one another. Part of the film's perverse fascination is watching Buuel's street punks cause misery to those less fortunate. The audience immediately identifies with Pedro (Alfonso Meja), the youngest gang member, who evinces a spark of decency; yet Pedro, like the others, remains a victim of circumstances far beyond his control. Throughout, Buuel maintains an objective tone; it is our responsibility, not his, to judge the gang members. Seasoned with haunting dream sequences, Los Olvidados was the opening volley in what would turn out to be Buuel's most creative period.

IMDB | DVDBeaver | Wikipedia | Rotten Tomatoes

Or ‘The Forgotten’, as the title translates, which applied as much to Buñuel at the time he made this as the wretched Mexican slum kids it depicts. It had been 20 years since the Spaniard had outraged Paris with ‘L’Age d’Or’, in which time he’d shuffled unproductively between Paris, Madrid, the US and finally Mexico City, before causing more outrage and regaining international recognition with this excoriating drama.

The Young and the Damned / Los olvidados (1950) [ReUp]

It’s the defiant lack of sentimentality that marks the film. It begins scratching around a gang of street kids, headed by cocksure, reform-school escapee Jaibo (Roberto Cobo), who eke out a living robbing the blind and the legless, then hones in on little Pedro (Alfonso Mejía), Jaibo’s unwitting accomplice in the murder of the grass who jailed him. Your sympathy never dwells anywhere for long – Pedro himself’s no innocent, while a robbed blind busker later molests a young woman – yet neither is anyone completely condemned; even beneath Jaibo’s maliciousness lies a childish vulnerability.

The Young and the Damned / Los olvidados (1950) [ReUp]

‘Los Olvidados’ exposes the murderer inside us all; his characters do bad things out of poverty, fear, a lack of love, not evil. Neorealistic observation and location shooting may have been its basis (DeSica’s ‘Shoeshine’ was an influence), but Buñuel’s abiding surrealism leads us deeper into the grim milieu’s impact on inner lives, notably in an unsettling slow-mo dream sequence that compounds all Pedro’s Oedipal insecurities. It’s a masterpiece that tangles individual and social ills into a knot, which, as we’re warned in an opening voiceover, it offers no easy way to untie, rousing a sickening sense of injustice. The final shot, of a dumped child’s body followed by a swoop skywards that suddenly freezes, is simply paralysing.
TimeOut
The Young and the Damned / Los olvidados (1950) [ReUp]

After a strange interlude of nearly two decades of critical obscurity, one of the great masters of the cinema returned to the public eye with this gripping combination of gritty realism and disorienting surrealism. Set in the slums of Mexico City, this is Luis Bunuel's brutally clear-eyed account of "The Forgotten Ones", the reckless youth whose dismal marginal existence has become a deadly web from which they cannot extract themselves. Bunuel adopts many of the trappings of the popular form of the liberal social problem drama to tell his story but his goals are different. Rather than blaming all of the misery of these young people on their grim social conditions, he utilizes surrealism to expose the psychological underpinnings of their condition as he zeroes in on their dreams and sexuality. The result is a film that is realistic yet dreamy, heartrendingly sad yet subversively funny. There are no easy heroes or villains in this tough film. Bunuel also deftly avoids the sentimentalism that often afflicts this form.

The Young and the Damned / Los olvidados (1950) [ReUp]

At the film's core is the relationship between Pedro (Alfonso Mejia) and Jaibo (Roberto Cobo), two youths who live in Mexico's most disease-ridden urban slum. Jaibo, the older of the two, is already set in his ways, his selfish, vicious nature leading him to take advantage of those less fortunate than himself. As the film opens, he has just been released from jail and immediately returns to take control of the gang of boys who hang out in the streets and commit senseless acts of violence–not for money but for the pleasure of seeing the less fortunate suffer. The boy most eager to follow and please Jaibo is the childlike Pedro, whose innocent eyes reveal a spark of goodness lacking in the others.

The Young and the Damned / Los olvidados (1950) [ReUp]

The roots of this film extend back to LAS HURDES, Bunuel's devastating (yet also peversely amusing) 1932 documentary about the wretched living conditions in Spain's poorest region. There is also a vigorous nod to the Italian neo-realists; LOS OLVIDADOS is, as celebrated French critic Andre Bazin called it, "a film that lashes the mind like a red-hot iron and leaves one's conscience no opportunity for rest." Rarely have such squalor and savagery been displayed so unsentimentally, for Bunuel, who has a deep love for his characters, refuses to judge or pity them. Bunuel was named Best Director at the 1951 Cannes Film Festival, an award richly deserved.
TV Guide
The Young and the Damned / Los olvidados (1950) [ReUp]

Special Features:
- 'Las Hurdes (1933)' Bunuel's documentary - IMDB, 27 mins, French audio and subs only

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