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The Young One

Screening on Film
Directed by Luis Buñuel.
With Zachary Scott, Bernie Hamilton, Key Meersman.
Mexico/US, 1960, 35mm, black & white, 95 min.

An unsung masterpiece and one of two English language films directed by Buñuel during his Mexican period, The Young One is a surprisingly uncompromising study of racism and sexual desire, set on a remote island in the Deep South. A grizzled Zachary Scott stars as the racist and sexually frustrated warden of the island hunting reserve unexpectedly made guardian of a fulsome young woman, unleashing a simmering tension brought to a fever pitch by the sudden appearance on the island of a black jazz musician fleeing false accusations of rape. The island's overripe wilderness provides the ideal stage for a Buñuelian exploration of human desire as a primal and mysterious calling that seems to draw the many animals and insects that regularly appear as mute witnesses to the power struggle enacted between the men. Blacklisted screenwriter Hugo Butler provided a rich and authentic vision of the South that openly confronts racist bigotry without being sanctimonious, balancing its critique with wry humor and nuanced characters.

PRECEDED BY

  • Simon of the Desert

    Directed by Luis Buñuel.
    With Silvia Pinal, Claudio Brook, Enrique Álvarez Félix.
    Mexico, 1965, 35mm, black & white, 45 min.
    Spanish with English subtitles.

Perched atop a pillar in the middle of the desert in eternal penance for six years, six months, and six days, Simon – inspired by 5th century Saint Simeon Stylites – seeks spiritual purification through spectacular means. Reluctantly doling out occasional miracles, prophesies, and words of muttered wisdom to his fickle followers, Simon’s encounters elicit a string of blasphemous comedy routines occasionally anticipating those of Monty Python. His faith is ritually tested by the devil who reappears in various feminine incarnations all portrayed by the beguiling Silvia Pinal - accounting for most of the matter-of-fact surrealist moments that would become signature late Buñuel. With as ascetic an aesthetic as Simon’s, the last film Buñuel made while exiled in Mexico is a richly compact allegory. The cynical tone – balancing somewhere between mockery and sympathy – is consummated by a whirlwind ending which is as incredulously shocking as it is completely appropriate.

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